EDUCATIONAL 
MUSICAL  WORKS 


BY 


H.  A.  CLARKE,  IVIus.  Doc. 


Theory  Explained  to  Piano  Students,  -     -  $0.50 

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Counterpoint,  Strict  and  Free,       -     -     -  l.OO 

The  Art  of  Pianoforte  Playing,      ...  l.so 

Pronouncing  Dictionary  of  Musical  Terms,  1.00 
Pronouncing  Musical  Dictionary  (PocKct  Ed.),  .25 

Jerusalem,  A  Grand  Oratorio,        -     -     .  1.50 


PRONOUNCING 
DICTIONARY  of 
MUSICAL  TERMS 


GIVING   THE 

MEANING,  DERIVATION,  AND  PRONUNCIATION  IN  PHONETIC  SPELLING 

OF  ITALIAN,  GERMAN,  FRENCH,  AND  OTHER  WORDS  ;  THE  NAMES 

WITH   DATE  OF  BIRTH   AND   DEATH  AND   NATIONALITY  OF 

THE  LEADING  MUSICIANS  OF  THE  LAST  TWO  CENTURIES 


ENGLISH   VOCABULARY,  WITH   EQUIVALENTS    IN 
ITALIAN,  GERMAN,  AND   FRENCH 


A   LIST   OF  THE    MOST    CELEBRATED   OPERAS,  WITH    THE 

COMPOSERS'  NAMES 


BY 

H.  A.  CLARKE,  Mus.  Doc. 

PROFESSOR    OF     MUSIC,    UNIVERSITY    OF    PENNSYLVANIA 


PHILADELPHIA 
THEODORE    PRESSER   CO. 

1 712    CHESTNUT    STREET 


Copyright,  1S96,  by  Theo.  Presser 


PREFACE 


This  Dictionary  has  been  undertaken  with  the  object  of  putting  into 
the  hands  of  every  student  of  music,  in  convenient  shape,  a  work  in 
which  may  be  found  the  meanings,  derivations,  and  pronunciations  of 
the  English,  Italian,  German,  and  French  words  used  in  musical  works; 
also  the  names,  nationality,  and  dates  of  birth  and  death  of  the  leading 
musicians  of  the  eighteenth  and  nineteenth  centuries. 

A  feature  of  especial  value  is  the  list  of  English  words  with  their 
Italian,  German,  and  French  equivalents.  The  author's  design  has 
been  to  produce  a  useful  work.  He  has  therefore  omitted  many  Greek 
and  Latin  terms  which  are  never  met  with,  except  in  obsolete  treatises ; 
the  admission  of  such  words  would  only  serve  to  swell  the  size  ot  the 
volume,  without,  in  the  least  degree,  adding  to  its  value. 

H.  A.   CLARKE. 


M45159 


DIRECTIONS  FOR  PRONUNCIATION. 


All  Italian,  French,  and  German  words  are  written  out  phonetically,  on 
the  following  system : 

A  as  va.far,  represented  by  ah. 

The  Continental  e  has  the  sound  of  a  in  fare  ;  it  is  represented  by  eh. 

The  Continental  /  has  the  sound  of  e  in  deer ;  it  is  represented  by  ee. 

The  following  vowel  sounds  have  no  equivalents  in  English  :  French  e, 
when  not  accented,  something  like  the  vowel  sound  in  love.  German  o 
(^  modified,  or  Umlaicf)  has  nearly  the  same  sound.  German  ii  is  about 
half-way  between  the  sound  of  o  in  love  and  e  in  deer.  O  and  u  have  the 
same  sound  as  in  English,  the  u  sound  being  represented  by  oo,  as  in  cool. 
Italian  ae  has  the  sound  of  long  /  in  English.  German  a  is  the  equivalent 
of  a  in  air.     German  eu  is  sounded  like  oi,  as  in  toil. 

The  following  consonantal  sounds  have  no  English  equivalents  :  German 
hard  guttural  ach  and  soft  guttural  ag.  The  French  sound  of  y  is  represented 
by  zh  as  nearly  as  possible.  The  French  nasals  an,  en,  in,  on,  can  be  repre- 
sented but  very  unsatisfactorily  in  English  only  by  adding  a  final  g. 

Whenever  ch  is  found  it  is  to  be  sounded  like  ch  in  chair.  C  always  has 
this  sound  in  Italian  when  followed  by  i  or  e.  The  Italian  ch,  on  the  contrary, 
always  has  the  sound  of  k,  or  c  hard,  and  is  thus  represented.  The  Italian  zz 
has  the  sound  of  is  or  ds,  and  is  thus  represented. 

With  this  explanation  of  the  phonetic  system  adopted  to  represent  the 
foreign  sounds,  it  is  believed  that  the  reader  will  find  no  difficulty  in  acquiring 
their  proper  pronunciation. 


PRONOUNCING 

DICTIONARY  OF  MUSIC  TERMS 


O       -I      *      *      ' 


A.  The  6th  of  the  normal  major  scale ;  the 
1st  of  the  normal  minor  scale  ;  the  standard 
by  which  the  orchestra  is  timed,  given  by 
the  oboe. 
A,  A  (It.  and  Fr. )  [aA).  At,  in,  by,  for,  with. 
A  battuta  {bat-too' -to).  By  the  beat. 
A   bene    placito    [beh-neh   plah-chee'-td). 

At  pleasure,  without  regard  to  time. 
Alia  breve  [breh-veh').  Same  as  above ;  also 
a  rhythm  of  two  in  the  measure,  indicated 
by  (^.  Alia  breve  time  resembles  |  time 
in  having  but  one  accent  in  each  measure. 
It  was  originally  written  with  a  breve  in 
the  measure,  thus  : — 
\  \  \  V 

12         12  1  2 


3£;=; 


-rj      Q- 


but  as  the  breve  is  rarely  used  in  modern 
music  the  wliole  note  (semi-breve)  is  sub- 
stituted with  the  direction:  alia  breve,  i.  e., 
in  the  manner  of  music  written  with  a 
breve  in  each  measure.  The  following 
passage — written  (l)  alia  breve,  (2)  \, 
(3)  I — will  exhibit  the  difference  of  accent 
between  alia  breve  and  |  and  its  similarity 


A  or  Alia  capella  {cah-peF-hi).  In  church 
style,  i.  e.,  ei-ther  without  accompaniment 
or  with  the  instruments  in  unison  with  the 


Abbott,  Emma.    Soprano;  U.  S.  A.   B.  1850  ; 
d.  1891. 


A  capriccio  [cah-pritck'-eo).    Capriciously; 

without   regard   to  time  in  performance; 

without  regard  to  form  in  construction. 
A   demi-jeu    [deh-niee-zheoo).     With   half 

force  or  play.     A  direction  to  use  half  the 

power  of  the  instrument,  generally  used 

of  the  organ. 
A    deux    cordes    [doo-corJ).       On    two 

strings. 
A  deux  mains  [iioo-mang).    By  or  for  two 

hands. 
A  deux  temps  [doo-tahm).     In  |  time. 
A  la.     In  the  manner  of,   as  a  la  chasse 

(shass).      Like  a  hunt ;   hunting  song. 
A  mezza  voce  (It.)  (jitet-zavo-chee).   With 

half  voice. 
Apiacere  [pee-ah-cheh'-reh),  or  Al  placer, 

or  A  piacimento   [pee-ah-c/iee-nn'n'-to). 

At  pleasure. 
A  poco  a  poco  (It.).      Little  by  little 
A  poco  piu  lento  (It.).     A  little  slower. 
A  poco  piu  mosso  (It.).     A  little  faster. 
A  punto  (It.).     Accurate,  strict  time. 
A  punto  d'arco  (It.).     With  the  point  of 

the  bow. 
A  quatre  mains  (Fr.)  [katr-mang).     For 

four  hands. 
A  quattro  mani  (It.)  {kwat-tro  mah-nee). 

For  four  hands. 
A  sue  arbitrio  [soo-oh  ar-bee'-tre-o).     At 

your  will. 
A  tempo  {tem'-po) .     In  time.     A  direction 

to  resume  strict  time  after  Rail,  or  Rit., 

q.  V. 
A  tempo  giusto  [joos^-to).     In  strict  time. 
A  tempo  rubato   [roo-bah'-to).     In  stolen 

time,  i.  c,  retarding  and  hurrying  the  time 

irregularly. 
A  tres  cordes  [tray).     On  three  strings. 

Abbellimento    (It.)    (ab  -  bel-  lee-men'-to). 
Embellishment. 

Abbellitura  (It.)  {ab-bellee-too' -ra).     Embel- 
lishment.     Both  are  derived  from — 

Abbellire  [abbel-lee'-rek).     To  ornament. 

Pihl, Yrdinz  [apt, frants).      Songwriter;   Ger- 
many.    B.  1819  ;   d.  1885. 


ABBREVIATION 


ABBREVIATION 


Abbreviation.  A  system  frequently  employed 
in  music,  by  which  a  portion  of  a  technical 
term  is  made  to  stand  for  the  whole.  The 
following  is  a  list  of  the  abbreviations  in 
most  common  use  ;  the  explanation  of  each 
term  may  be  found  on  reference  to  the 
words  themselves  in  their  proper  places : — 

,       1 '     '    '    '  [  Accelerando 

Accel" J 

Ace I 

Accom I  Accompaniment 

Accomp.  ...    J 

Accres Accresciamento 

Ax5g^  or  ad'   ;  •.    .    .  AdagLo 

V    '  'Adl.  .'.  '.    .  ■,    .   Y  .  ,  ,..-., 

.  J  ,.,  r  Ad  iiDitum 

Ad  lib J 

Affett" Affettuoso 

Affrett" Affrettando 

Agif.' : : : : :  i^g^'^^^^ 

All"     .......  Allegro 

AUgtt" Allegretto 

Air  ott "I   Air     *. 

All'  8va /^'^   ^"^''^ 

Al  seg Al  segno 

And"" Andantino 

And^« Andante 

Anim" Animate 

Arc Coll  arco,  or  arcato 

Ard" Ardito 

Arp" Arpeggio 

At ] 

A  tern y  A  tempo 

A  temp J 

Aug By  Augmentation 

(Bass  (voice) 
Bassoon 
Contre  bass 

B.  C Basso  continuo 

Brill Brillante 

C.  B.  ' Col  basso 

CD Colla  destra 

C.  S Colla  sinistra 

Cad Cadence 

Cal Calando 

Can Cantoris 

Cant Canto 

Cantab Cantabile 

Cello       Violoncello 

Cemb Cembalo 

Ch Choir  organ 

Chal Chalameau 

Clar .  Clarinet 

Clar't" Clarinetto 

Clar Clarino 

Co.  so Come  sopra 

Col  C Col  canto 

Col  ott»      Coir  ottava 

Col.  vo Colla  voce 

Con  esp Con  espressione 

Cor Cornet  or  horn 

Cres" }  r'  J 

r-  >  Crescendo 

Cresc J 


C.  S Colla  sinistra 

C.  8'a Coll'  ottava 

C°  I"" Canto  primo 

Co.  I""* Gome  primo 

C* Concerto 

D Destra,  droite 

D.  C Da  capo 

Dec Decani 

Decres Decrescendo 

Delic Delicamente 

Dest Destra 

Diap Diapasons 

Dim By  diminution 

Dim Diminuendo 

Div Divisi 

Dol.     ,        Dolce 

Dolcis Dolcissimo 

Dopp.  ped Doppio  pedaie 

D.  S Dal  segno 

Energ Energicamente 

T^  P I  Espressivo 

Espres J       ^ 

F.  or  for Forte 

Fag Fagotto 

Falset Falsetto 

Ff.  or  Fff. Fortissimo 

Fl Flauto 

R^g.:    :    :    :    ;}Fu11  organ 

^  ^^ )■  Forzando 

Fz J 

G Gauche 

G.  O ] 

G.  Org I  Great  Organ 

Gt J 

Gr Grand 

Grand" Grandioso 

Graz"      Grazioso 

Hauptw ^ 

Hptw >•  Hauptwerk 

H.  W j 

Haut Hautboy 

H.  C Haute  contre 

Intro Introduction 

Inv Inversion 

L Left 

Leg Legato 

Legg" Leggiero 

L.  H Left  Hand 

Lo Loco 

Luo Luogo 

Lusing Lusingando 

M ) 

Main >  Manual 

Mano J 

Maest"        Maestoso 

Magg Maggiore 


ABBREVIATION 


ABBREVIATION 


Man Manuals 

Mane 

Man'io     .    . 
Marc.      .... 


Mancando 


M.  D. 


M.  M. 


M.    M.    ^    :=    92       .     - 


M.  P. 
MS. 


Marcato 
Mano  diritta 
Main  droite 
(  Mano  destra 

M.  G Main  gauche 

Maelzel's  Metro- 
nome 
'  The  beat  of  a  quar- 
ter-note is  equal 
to  the  pulse  of  the 
pendulum  of  the 
Metronome    said 
to   be   Maelzel's, 
with    the  weight 
set  at  92. 
.  Mezzo  piano 
J  Manuscript  or 
\  Mano  sinistra 

Men Meno 

Mez .  Mezzo 

Mf.  or  Mff.    ....  Mezzo  forte 

Modt^ Moderate 

Mus.  Bac Bachelor  of  Music 

Mus.  Doc Doctor  of  Music 

M.  V Mezzo  voce 

Ob Oboe,  or  Hautbois 

Obb Obbligato 

Oberst Oberstimme 

Oberw "(  ^,  , 

Obw jOberwerk 

Oh.  Ped Ohne  Pedal 

Org Organ 

Cva  -> 

S-    '.'.'.'.'.'.    '.   }0«ava 

8»»  alta       Ottava  alta 

8^»  bas Ottava  bassa 

P Piano 

Ped Pedal 

Perd Perdendosi 

P.  F Piu  forte 

Piang Piangendo 

Pianiss Pianissimo 

Pizz Pizzicato 

Pmo }  T,-     ■    ■ 

pp  >  rianissimo 

PP'P.  '...'.'.'.   \^. 

PPPP /^'^ 

l™» Prima  (volta) 

I™" Primo 

4"« Quartet 

5"e Quintet 

Rail Rallentando 

Raddol Raddolcendo 

Recit Recitative 

Rf.,  rfz.,  or  rinf.    .    .  Rinforzando 

R.  H Right  Hand 

Ritar Ritardando 

Riten Ritenuto 


lanississimo 


S Senza 

S. A  Sign 

Scherz Scherzando 

2<i» Seconda  (volta) 

2^°       .    ,  , Secondo 

Seg Segue 

Sem ■)  e 

Semp jSempre 

7"       Septet 

6"       Sestet 

Sfz Sforzando 

Sinf.        Sinfonia 

Smorz Smorzando 

S.  Int Senza  interruzione 

c'     '  J >  Sensa  sordini 

q    [ V  Sostenuto 

Spir Spiritoso 

S.  T Senza  tempo 

Stacc Staccato 

St.  Diap.    .    ...    .    .  Stopped  Diapason 

String Stringendo 

Sw Swell  Organ 

Sym Symphony 

ry  f  Tenor,  tutti,  tempo, 

\      tendre 

T.  C Tre  corde 

Tern Tempo 

Tem.  1"      .....  Tempo  primo 

Ten Tenuto 

Timb Timballes 

Timp Timpani 

Tr Trillo 

Trem Tremolando 

3» Trio 

Tromb.  ...  .  Trombi 

Tromb Tromboni 

T.  S Tasto  solo 

U .Una 

U.  C Una  corde 

Unis Unisoni 

V Voce 

V Volti 

Va Viola 

Var Variation 

Velio Violoncello 

Viv Vivace 

Vo 1 

Vno V  Violino 

Violo       J 

V.  S Volti  subito 

VV.     '.'.'.'.'.   /Violini 

There  are  other  abbreviations  employed 
in  manuscript  or  printed  music,  the  chief  of 
which  are  as  follows  : — 

In  time,  a  dash  with  a  figure  above  signi' 
fies  the  length  of  the  pause  in  bars,  e.  g. : — • 
24 


ABBREVIATION 


10 


ACCOMPAGNAMENTO 


In  notes,  the  trouble  of  writing  a  passage 
in  full  is  saved  by  the  use  of  abbreviations, 
e.  g.  :— 

IVritten. 


Beat, 


Written. 


Repetition  phrases  are  thus  shortened  : — 


f^ 


^ 


$ 


^ 


Abbreviations,  by  signs,  of  musical  graces  :- 
The  Turn. 


ess 


The  back  Turn, 
Written.         m 


Sung.       p     ^  p 


Passing  shake. 
Written.         m 


Sung.     -f-frf-p-f~ftL 


Written. 


Sung.     _J       p_ 


Shake, 

inr  Sung. 


^«=r: 


Written. 


Written. 


^ 


Played. 


^^ 


-HH 1- 


^^ 


;t*- 


Abgestossen  (Ger.)  [ap-gek-stoss-en)  [from 
adstossen,  to  knock  off  ].  Detached  ;  stac- 
cato. 

Absolute  Music.  Music  independent  of 
words,  scenery,  acting  or  "programme;" 
the  highest  class  of  instrumental  music. 

Accelerando  (It. )  {at -  chel -  leh  -  ran  -  do). 
Hastening  the  movement  (tempo). 

Accent.  The  stress  which  recurs  at  regular 
intervals  of  time.  Its  position  is  indicated 
by  upright  strokes  called  bars.  The  first 
note  inside  a  bar  is  always  accented.  When 
the  bars  contain  more  than  one  group  of 
notes,  which  happens  in  compound  time, 
other  accents  of  lesser  force  occur  on  the 
first  note  of  each  group;  these  are  called 
secondary  or  subordinate  accents,  whilst  that 
just  inside  the  bar  is  termed  the  pri?>!ary  or 
principal  accent.  Other  accents  can  be  pro- 
duced at  any  point  by  the  use  of  the  sign 
:___=-  or  sf.  The  throwing  of  the  accent  on 
a  normally  unaccented  portion  of  the  bar  is 
called  syncopation .  A  proper  grouping  of 
accents  will  produce  rhythm.  It  is  con- 
sidered a  fault  if  an  accented  musical  note 
falls  on  a  short  syllable. 

Acciacatura  (It.)  {at-cheea-ca-too' -ra).  A 
short  grace  note,  written  thus :  ^  takes  the 
place  in  the  harmony  of  the  note  it  precedes  ; 
is  played  rapidly.  [From  Acciaccare  [at- 
chee-ac-ca'-reh),  to  crush  or  jam  together.] 

Accidentals.  All  signs  for  raising  or  de- 
pressing letters  that  are  not  found  in  the 
signature. 

Accolade  (Fr.)  (ac-co-lahd).  A  brace  en- 
closing two  or  more  staves,    -j    [From  Latin 


fli/,  to  ;   collum,  the  neck.] 
Accompagnamento    (It.) 


To  embrace. 
(ac-com-pan-ya- 


7nen-to),  Accompagnement  (Fr. )  [ac-com- 
pang-mongt).  Accompaniment.  The  sep- 
arate part  or  parts  that  accompany  a  solo  or 


ACCOMPANIMENT 


11 


AIR 


chorus  ;  generally  instrumental,  but  a  vocal 
solo  with  vocal  accompaniment  is  frequently 
met  with. 
Accompaniment  ad  libitum  (Lat.).  An 
accompaniment  that  may  be  omitted  without 
injury  to  the  musical  effect. 

Accompanist  or  Accompanyist.     One  who 

plays  or  sings  an  accompaniment  to  a  solo. 
Accoppiato  (It.)  {ac-cop-pee-ah' -to).   Coupled 
or  joined  together. 

Accord  (Fr. ).  A  chord  ;  agreement  in  pitch. 
Mode  of  tuning  a  string  instrument. 

Accordatura  (It.)  [ac-cor-da-too'-ra).  The 
mode  of  tuning  string  instruments,  as  violin, 
guitar,  etc. 

Accordion.  A  small,  portable  instrument 
with  free  reeds. 

Achtel  (Ger.).     Eighth-note. 

Achtel  Pause  (pow-ze).     Eighth-rest. 

Acoustics  [(7-koos-tics)  [from  Greek  aktio,  to 
hear].  The  science  of  sound;  that  which 
treats  of  the  cause,  nature,  and  phenomena 
of  sound  as  a  branch  of  physical  science. 

Action.  The  mechanism  by  means^ of  which 
the  hammers  of  the  piano  and  the  valves  and 
stops  of  the  organ  are  controlled  by  the  per- 
former. 

Acuta  (Lat.).  Acute.  A  mixture-stop  in  the 
organ. 

Acute.     Pitched  high  ;   the  opposite  of  grave. 

Adagietto  (It.)  {a-da-jee-et'-to).  Diminutive 
of  Adagio ;  not  so  slow  as  Adagio. 

Adagio  (It.)  (a-da'-jee-o).  Slowly;  also  a 
name  given  to  a  movement  written  in  that 
time. 

Adagio  assai  {as-sah-e).  Adagio  di  molto 

((/rt'  niol-to).      Very  slowly. 

Adagio  cantabile  {can-tah' -bee-leJi).  Very 
slow  and  sustained,  as  if  being  sung. 

Adagio  patetico  \pa-ieh' -tee-co).  Slow  and 
with  pathos. 

Adagio  pesante  (^peh-san' -teJi) .  Slow  and 
weighty. 

Adagio  sostenuto  [sos-teh-noo-to).  Slow  and 
sustained. 

Adagissimo  (It.).  Superlative  of  Adagio. 
More  than  usually  slow ;  very  slow  in- 
deed. 

Addolorato  (It.)  {ad-do-lo-7-ah' -to) .  Sorrow- 
ful ;   dolorous. 

Adirato  (It.)  (ad-ee-rah'-to).  Angrily;  irri- 
tated. 

Adjunct  Keys  or  Scales.  Those  a  fifth 
aliove  and  fifth  below  the  given  key  or 
scale.  Related  scales.  The  scales  or  keys 
of  the  dominant  and  subdominant. 

Adam,  Adolph  Charles  Opera  and  song 
witer;   France.     B.  1803;  d.  1S56. 


Adjunct  Notes.  Short  notes,  not  essential  to 
the  harmony,  occurring  on  unaccented  parts 
of   a  bar.      [Cf.  Auxiliary  Notes,  Passing 

Notes. '\ 

Ad  libitum  (Lat.).  At  will,  (i)  In  passages 
so  marked,  the  time  may  be  altered  at  the 
will  of  the  performer.  (2)  Parts  in  a  score 
that  may  be  omitted. 

A  dur  (Ger.)  {dure).     A  major. 

.^olian.  The  name  of  one  of  the  Greek 
scales ;  also  of  one  of  the  ecclesiastical 
scales.  Identical  with  modern  A  minor 
without  sharped  seventh. 

.^olian  Harp.  A  shallow,  oblong  box  with 
gut-strings  set  in  motion  by  the  wind,  gen- 
erally made  to  fit  a  window  with  the  lower 
sash  raised  enough  to  admit  it.  The  strings 
should  be  tuned  in  unison. 

Aussere  Stimmen  (Ger.)  {ois-eh-reh  stim- 
men).  The  outer  parts,  as  soprano  and 
bass  in  a  chorus,  or  violin  and  violoncello  in 
a  quartet. 

Ausserst  (Ger.).     Very;  extremely. 

Ausserst  rasch  {rash).     Very  quick. 

Added  Sixth.  A  name  given  to  the  subdom- 
inant  chord  with  the  6th  over  its  fundamental 
added,  thus:   F  A  C  D.      This  explanation 

of  this  combination   is  not  now  generally 
accepted. 

Affabile  (It.)  {af-fah'-bce-leh).  Pleasing; 
affably;   agreeably. 

Affannato  (It.)  {af-fah-nah' -to)  [from  af- 
famio,  anxiety].      Distressfully. 

Affannosamente  (It.)  {af-fah-no-sah-inen'- 
tch).      Restlessly. 

Affannoso  (It.)  {af-fah-no-so).     Mournfully. 

Affettuosamente  (It.)  {af-fet-too-o-sa-men- 
te/t),  Affetuoso  (It.)  {af-fet-ioo-o-so).  Af- 
fectionately. 

Affinity.  Connected  by  relation.  Relative 
keys. 

Afflitto  (It.)  {af-flit'-to).     Sadly;  afflictedly. 

Affrettando  (It.)  (a/-/";-,?/'-/««^-^/('),  Affrettate 
(It.)  {af-fret-tah'-t'eh),  Affrettore  (It.)  {af- 
fret-to'-reh).      Hastening  the  time. 

Agevole  (It.)  {a-jeh'-vo-leh),  Agevolezza 
(It.)  {a-jeh-vo-letz' -ah).  With  lightness  or 
agility. 

Agilmente  (It.)  {a-jil-men'-teh),  Agilmento 
(It.).      In  a  lively,  cheerful  manner. 

Agitamento  (It.)  {a-jee-tah-men' -to).  Rest- 
lessness. 

Agitato  (It.)  {a-jee-tah'-to).  Agitated.  To 
sing  or  play  in  an  agitated,  hurried  manner. 

Air.     A  tune,  song,  melody. 

Agramonte,  Emilio  {ah-gra-inoii-teh).  Vocal 
teacher;   France.     B.  1S44. 


AIS 


12 


ALLEGRO 


Ais  (Ger.)  [a-iss).     A  sharp. 

A  la   mesure    (Fr.)    (meh-zoor).      In    time. 
Same  as  A  tempo  and  A  battuta. 

Albert!    Bass.       Broken    chords     arranged 
thus : — 


So  called  from  the  name  of  its  reputed  in- 
ventor, Domenico  Alberti. 

Al'  loco.  At  the  place.  Used  after  the  di- 
rection to  play  8th  higher  or  lower. 

Al  piacere.     See  A  piacere. 

Al  rigore  di  (or  del)  tempo  (ree-go-reh 
dee  tempo).      In  strict  time. 

Al  scozzese  [scots-zeh-zeli).   In  Scotch  style. 

Al  segno  (^sen-yo).  To  the  sign.  A  direc- 
tion to  return  to  the  sign  ^.  D'al  segno, 
from  the  sign,  is  used  with  the  same  inten- 
tion. 

Air  antico  {an'-tee-ko).     In  ancient  style. 

Air  ottava  {ot-tah-vaJi).  When  over  the 
notes  play  octave  higher  than  written,  when 
tinder,  an  octave  lower.  In  orchestral  scores 
it  means  that  one  instrument  is  to  play  in 
octaves  with  another. 

Air  unisono.     At  unison. 

Alia  (It.).  Written  Al.  or  All.  before  words 
beginning  with  a  vowel.  Like  ;  in  the  style 
of. 

Alia  breve.  The  value  of  one  or  two  whole 
notes  in  the  measure,  with  rhythm  of  two 
beats.  Indicated  by  ^.  In  modern  music, 
chiefly  used  in  rapid  tempo.     See  A  capella. 

Alia  caccia  (It.)  {cat-cliid).  In  hunting 
style. 

Alia  camera  (It.)  [ca'-meh-rah).  In  cham- 
ber-music style. 

Alia  capella.  In  church  style.  See  A  ca- 
pella. 

Alia  deritta.     By  degrees. 

Alia  hanacca  [Iia-nak-kd).  In  the  manner 
of  a  hanacca. 

Alia  marcia  [inar'-chee-d).      In  march  style. 

Alia  mente  [men-te/t).     Extemporaneous. 

Alia  militare  {mee-lee-tali-reh).  In  military 
style. 

Alia  moderno.     In  modern  style. 

Alia  Palestrina.  In  the  style  of  Palestrina, 
?'.  e. ,  strict  C.  P.  without  instrumental  accom- 
paniment. 

Alard,  Delphin  {ah-lard,  del-feen).  Violin- 
ist; France.      B.  1815;  d.  1S88. 

Alary,  Guilio  Eugenio  Abrama  {ah-lah-ree, 
ju-lio  eti-jeh-ne-o  ah-bra-mak).  Composer; 
Italy.  B.  1814.  • 


Alia  polacca.     Like  a  polacca  or  polonaise. 
Alia  quinta.     At  the  fifth. 

Alia  rovescio  [ro-veh' -shee-o).  By  contrary 
motion  or  reverse  motion,  as  when  a  phrase 
is  imitated  with  the  movement  of  the  inter- 
vals inverted.      Example  : — 


I 


:& 


-•-+- 


--f^ 


^ 


Alia  siciliana  [see-chee-lee-ah' -tiah).  In  the 
style  of  a  Siciliana,  q.  v. 

Alia  stretta.     Like  a  stretto,  q.  v. 
Alia  turca.     In  Turkish  style. 
Alia  zingaro.     In  Gypsy  style. 
Alia  zoppa.     Lamely  ;  halting. 

Allegramente  (It.)  {al-leh-grah-men' -teKy 
Joyfully. 

Allegretto  (It.)  {al-leh-gret'-to).  Diminu- 
tive of  Allegro,  (i)  Slower  than  Allegro. 
(2)  A  movement  in  this  time. 

Allegrettino  (It.)  [al-leh-gret-tee^ -710).  Di- 
minutive of  Allegretto,  (i)  Not  so  fast  as 
Allegretto.  (2)  A  short  Allegretto  move- 
ment. • 
Allegro  (It.)  (al-leh-gro).  (Lit.,  joyful.) 
Quick,  lively.  The  word  is  occasionally 
employed  to  describe  a  whole  movement  of 
a  quartet,  sonata,  or  symphony.  In  music 
it  is  sometimes  qualified  as  : — 

Allegro  agitato        (It.)  Quick  and  in  an 

excited  manner. 
"       assai  "     Literally,   fast 

enough.      A 
quicker     motion 
tlian  simple  alle- 
gro. 
•'       commodo 


or 
comodo 
con  brio 


An  easy,  graceful 
allegro. 

Quickly  and  with 
spirit. 

"  con  fuoco  "  Rapidly  and  with 
fire. 

"  con  moto  "  With  sustained 
joyfulness. 

"  con  spirito  "  Joyfully  and  with 
spirit. 

"  di  bravura  "  A  movement  full 
of  executive  dif- 
ficulties intend- 
ed to  exhibit  the 
capacity  of  the 
singer  or  player. 

"  di  molto  "  Exceedingly 
quick. 

Albani,  Marie  Louise  Emma  Cecilie  {al-bah- 
7iee).     Soprano  singer;   Canada.      B.  1850. 

Alboni,  Marietta  (al-bo-nee,  mar-yet-ta).  Con- 
tralto;  Italy.      B.  1824;    d.  1894. 


ALLEMANDE 


13 


ANDACHTIG 


Allegro furioso       (It.)  Rapidly  and  with 

fury. 
"       giusto  "     In     quick     but 

steady  time. 
"       ma  grazi-  "I  ,,      Lively    and    with 
oso         J  graceful  motion. 

♦'       ma  non      )  ,,      Rapidly,   but   not 

presto    /  too  fast. 

"       ma  non      1  ,,     Quickly,  but    not 

tanlo      J  too  much  so. 

"       ma  non      K,     Lively,  but  not  too 

troppo    J  fast. 

"       moderato      "     Moderately 

quick. 
"       molto  "     Very  quick. 

"       risoluto         "     Lively   and    with 
firmness  and  de- 
cision. 
"       veloce  *'     Lively   and    with 

speed. 
"       vivace  "     Lively  and  brisk. 

"       vivo  "     Quick  and  lively. 

Allemande  (Fr. )  [abnain,  aHemaigne).  A 
German  dance  (or  some  authorities  say 
French),  originally  in  duple  time.  Adopted 
as  one  of  the  movements  in  the  Suite  by 
Bach,  Handel,  and  others,  and  written  in 
\  time. 

Allentamento  (It.)  [al-len-tah-men-to),  Al- 
lentato  (It.)  [al-Ien-tah-to),  Alientando 
(It.)  [al-len-tan-do).  Giving  way  ;  slack- 
ening the  time. 

Allmahlig  (Ger.)  [aH-niay-lig).     Gradually; 

by  degrees. 
Alpenhorn    or   Alphorn.      A    wooden    horn 

slightly  curved,  4  to  8  feet  long,  used   by 

the  Swiss  herdsmen. 
Alt  (Ger.).      The  alto  voice  or  part. 
Alt-Clarinette.     Alto  clarionet.     Its  pitch  is 

a  5th  below  the  ordinary  clarionet. 

Alt-Geige.     The  viola. 

Alt-Oboe.     Oboe  de  caccia,  q.  v. 

Alt-Posaune  {^po-zoiv-neli).     Alto  trombone. 

Alterato  (It.)  (al-teh-rah'-to),  Altere  (Fr.) 
{al-teh-reli).     Changed;   altered. 

Altered.  Said  of  intervals,  the  normal  con- 
dition of  which  in  a  scale  or  chord  is 
changed. 

Alternativo  (It.)  {al-/e>--na/i-iee^-vo).  An 
alternate.  A  part  of  a  movement  to  be 
played  alternately  with  others.  This  name 
is  frequently  given  to  the  second  trio  of  a 
Scherzo  in  chamber  music  when  (as  is  un- 
usual) a  second  trio  is  added. 

Albrechtsberger,  Johann  Georg  [al-brechts- 
berger,  yo-hann  G.).  Composer  and  theo- 
rist;  Germany.     B.  1736;   d.  1S09. 

Amati,  Andreas  ((7- W(7/^-/ff,  .•/.).  Italy.  B. 
1520;  d.  1577. 

Amati,  Antonio.     Italy.     B.  1550. 


Altissimo  (It.).     The  highest. 

Alto  (It.).  High,  loud.  Originally  applied 
to  high  male  voices,  now  generally  lu  the 
lowest  female  voice.  Also  applied  to  the 
viola  (or  tenor  violin). 

Alto  Clef.  The  C  clef  on  the  third  line, 
used  for  the  viola,  alto  trombone,  and  (in 
Europe)  for  the  alto  voice. 

Altra,  Altre,  Altri,  Altro  (It.)  (masculine 
and  feminine  forms  in  the  singular  and  plu- 
ral).     Other,  others. 

Amabile  (It.)  {ah-mah'-bee-leK).  Amiably, 
sweetly,  tenderly. 

Amarevole  (It.)  (ah-mah-reh' -vo-leli).  Sad, 
bitter. 

Amateur  {Yx.)  [a-mah-toor').  A  lover  of  art. 
Generally  applied  to  one  who  does  not  fol- 
low it  professionally. 

Ambrosian  Chant.  The  system  of  church 
music  introduced  by  Ambrose  of  Milan  in 
the  fourth  century. 

Ambrosian  Hymn.  A  name  given  to  the 
Te  Deum  on  account  of  the  belief — now 
known  to  be  erroneous — that  it  was  written 
by  Ambrose  of  Milan. 

Ame  (Fr. )  [am].  Soul.  The  French  name 
for  the  sound-post  of  instruments  of  the 
violin  family. 

American  Organ.  The  English  name  for 
American  reeil  organs,  in  which  the  air  is 
drawn  through  instead  of  being  forced 
through  the  reeds,  as  in  the  usual  Euro- 
pean system. 

A  moll  (Ger.).     A  soft,  i.  e.,  A  minor. 

Amorevole  (It.)  {a-mor-eh' -vol-eh),  Amore- 
volmente  (It.),  Amorosamente  (It.), 
Amoroso  (It.).  Lovingly  ;  tenderly  ;  am- 
orously. 

Amusement  (Fr.)  {a-mooz-mong).  A  light 
composition  ;    a  divertimento. 

Anche  (Fr.)  {onsh).  A  reed  of  organ-pipe, 
or  mouth-piece  of  oboe,  clarionet,  etc. 
Jeu-d'anche,  reed-stop.  Ancia  (It.) 
(an-chee-a/i).  Italian  form  of  the  same 
word. 

Anche  (It.)  {an-kek).     Also;  yet;  still. 

Anche  piu  moto.     Still  or  yet  faster. 

Ancor(It.).  Also;  yet;  still;  used  in  the 
same  way  as  Anche. 

Ancora  (It.).     Again.     Fr.,  encore. 

Andachtig  (Ger.)  [an-daych-tig).     Devoutly.. 

Amati,  Geronimo  (yi?//-ro''-«^if-wo).    Italy.    B. 

;    d.  1635.     Sons  of  Andreas. 

Amati,  Nicolo  («^^-f 0-/0).    Italy.   B.  1596;  d. 

1684.      Son  of   Geronimo.      Violin   makers 

of  Cremona. 

Ambros,  August  W.  Historian  and  pianist; 
Germany.     B.  1816;  d.  1876. 


ANDAMENTO 


14 


ANTIPHONY 


Andamento  (It.)  [an-da-men'-to).  Move- 
ment ;  the  coda  to  a  long  fugue  theme 
frequently  dropped  in  the  "  working  out." 

Andante   (It.)  [from  andare,  to  walk  or  go 
slowly].    A  slow  movement ;    quiet,  peace- 
ful tempo. 

Andante  affettuoso.   Slow,  with  tenderness. 

Andante  cantabile  (can-tah' -bee-leh).  Slow 
and  singing. 

Andante  con  moto.  Slow,  but  with  a  little 
motion. 

Andante  grazioso.     Slow  and  graceful. 

Andante  maestoso.     Slow  and  majestic. 

Andante  non  troppo  or  ma  non  troppo. 

Slow,  but  not  too  slow. 

Andante  pastorale.    Slow,  in  pastoral  style. 

Andante  sostenuto  (It.)  [sos-tek-noo'-to). 
blow,  with  smoothness. 

Andantemente  (It.).      Like  an  Andante. 

Andantino  (It.)  {an-dan-tee' -no).  A  dimin- 
utive of  ^wf/aw/^.  A  little  faster  than  Andante 
(some  say  slower,  but  the  Italian  diction- 
aries say  faster). 

Anelantemente   (It.)   (ah-neh-lan-teh-men'- 

teh).      Ardently;   eagerly. 
Anfang  (Ger. ).      Beginning. 
Anfangsgriinde  (Ger.).      Rudiments. 

Anfangs-Ritornel(Ger.).  Introductory  sym- 
phony. 

Angenehm  (Ger.)  (ati'-geh-nehni).  Pleasing; 
agreeable. 

Anglaise  (Fr.)  [on-glehs),  Anglico  (It.)  (an'- 
i^Iee-ko).      The  English  country  dance. 

Angelica  (Lat.).     The  vox  angelica. 

AngeFique  (Fr.)  [on-Jeh-leek).  Voix  an- 
gelique,  angel  voice,  name  of  an  organ- 
stop.  Also  called  Voix  Celeste  (Fr. )  {ro-a 
seh-lesf).     Celestial  voice. 

Angosciosamente  (It.)  {an-go-shee-o-sa- 
mt-n'-teh),  Angoscioso  (It.)  [an-go-shee- 
o'-so).      Painfully  ;    with  anguish. 

Anhang  [Gtr .)\_an/idngen,  to  hang  to] .   Coda. 

Anima  (It.)  [ah' -nce-mah),  Animato  (It.) 
{ah-nee-mah'-td),  Kn\TS\z.ndiO  (It.).  Soul; 
spirit ;   life  ;   lively  with  animation. 

Animosamente  (It.)  {ah-iiee-mo-sah-men'- 
teh\,  Animosissimo  (It.)  or  Animosis- 
samente.     Very  energetic  ;  boldly. 

Animoso  (It.).     Spiritedly;   energetically. 

Anlage  (Ger.)  (an-lah' -geh) .  The  plan  of  a 
composition. 

Ambrose,  St.  Established  the  Ambrosian 
Chant ;  Gaul.      B.  340  ;  d.  398. 

Andre    [an-dray],    Johann ;    Germany.      B. 

1741;   d.  1799. 
Andre,  Johann  Anton,  son  of  preceding.     B. 

1775;  d.  1842. 


Anleitung  (Ger.)  (an-ley'-tooug).  Direction; 
guidance  ;   preface. 

Anmuth  (Ger.)  yiin-vioot).  Sweetness; 
grace ;   charm. 

Anmuthig  (Ger.).      Sweetly;  gracefully. 

Ansatz  (Ger.).  (l)  Attack.  (2)  Position  of 
mouth  in  singing.  (3)  Position  of  lips  in 
blowing  a  wind  instrument.  See  Embou- 
chure. 

Anschlag  (Ger.).  Touch,  as  applied  to  piano 
and  other  keyed  instruments. 

Anschwellen  (Ger.)  [an-shvel-len).  To  in- 
crease in  loudness ;   crescendo. 

Antecedent  [Lat.  ante,  cado,  to  fall  before]. 
The  subject  or  theme  proposed  for  imitation ; 
the  subject  of  a  fugue.  The  reply  or  imi- 
tation is  called  the  consequent. 

Anthem,  *anth6me,  *antem,  s.  [In  A.  S. 
(jntefen,  a  hymn  sung  in  alternate  parts,  an 
anthem  ;  O.  Fr.,  antliame,  autene,  cuttiefine, 
antevene ;  Prov.,  anlifene,  antifona :  Sp. 
and  It.,  antifona;  Low  Lat.,  autiphona  ; 
from  Gr.  ai'Tifuvov  (antiphonon),  an  anti- 
phon,  an  anthem ;  avrlipurog  [antiphotios), 
sounding  contrary,  .  .  .  responsive  to ; 
avrl  (rt«/«j,  opposite  to,  contrary  to;  (^urri 
[phone),  a  sound,  a  tone.] 

*  (l)  Originally:  A  hymn  sung  "against" 
another  hymn  ;  in  other  words,  a  hymn  in 
alternate  parts,  the  one  sung  by  one  side  of 
the  choir,  the  other  by  the  other. 

"Anthem,  a  divine  .song  sung  alternately  by  two 
oppo.site  choirs  and  choruses." — Gtossog.  J\'ov.,  ^A 
ed.  (1719). 

(2)  A^o7u :  A  portion  of  Scripture  or  of 
the  Liturgy,  set  to  music,  and  sung  or 
chanted. 

There  are  three  kinds  of  anthems:  (l) 
A  verse  anthem,  which  in  general  has  only 
one  voice  to  a  part ;  (2)  a  full  anthem  with 
verse,  the  latter  performed  by  single  voice, 
the  former  by  all  the  choir;  (3)  a  full  an- 
them, performed  by  all  the  choir. 

Anthropoglossa  [Gr.  anthropos,  man  ;  glossa, 
the  tongue].  Like  the  human  voice;  the 
vox  humana  stop  in  the  organ. 

Anticipation  [Lat.  ante,  before ;  capio,  to 
take].  To  introduce  a  note  belonging  to 
the  next  chord  before  leaving  the  preceding 
chord. 

Antiphon  [Gr.  anti,  against ;  phoneo,  to 
sing].  A  short  sentence  or  anthem  sung 
before  and  after  the  psalter  for  the  day. 

Antiphony.  The  responsive  singing  of  two 
choirs  generally  placed  on  opposite  sides  of 
the  chancel,  one  called  the  Decani,  on    the 

Andre,  Johann  Baptist,  son  of  preceding.     15. 

1823;   d.  1882. 
Andre,  Peter  F.  I.,  brother  of  last.  B.  180S; 

d.  18S0. 
Archer,  Frederick.     Organist;   England.    B. 

r8;S;  i\.  1901, 


ANWACHSEND 


15 


ARSIS 


Dean's  side  of  the  chancel,  the  other  the 
Cantoris,  on  the  precentor's  or  leader's  side. 
The  verses  of  the  psalms  are  sung  by  the 
choirs  alternately,  but  the  Gloria  by  the 
united  choirs. 

Anwachsend  (Ger. )  ian-vach-seu/).  Swell- 
ing ;  crescendo. 

Aperto  (It.)  [ah-pehr-to).  Open.  Direction 
to  use  the  damper  ("  loud  ")  pedal. 

Appassionata  (It.)  {ap-pas-sion-ah'-taJi), 
Appassionamento  (It. ).  With  strong  pas- 
sion or  emotion. 

Appassionatamente  (It.).     Impassioned. 

Appenato  (It.)  {ap-peh-nah'-to).  Distress- 
fully. 

Applicatur  (Ger.)  [ap-plee-ka-toor'^.  The 
lingering  of  a  musical  instrument. 

Appoggiando  (It.)  {ap-pod-je-an' -do).  Lean- 
ing upon;   suspended  notes. 

Appoggiato  (It.).  Retardations;  syncopa- 
tions. 

Appoggiatura  (It. )  [ap-pod-jea-too'-rah\.  To 
lean  against.  An  ornamental  note  foreign  to 
the  harmony,  one  degree  above  or  below  a 
member  of  the  chord,  always  on  an  accent 
or  on  a  beat.  It  takes  half  the  value  of  the 
note  it  ])recedes,  but  if  the  note  it  precedes 
is  dotted,  it  takes  two-tliirds  of  its  value. 

Written. 
I 


Written. 


z^zit— =tz— -zzit— ^r^ 


A 

Rendered. 

}(    4     . 

— • 

»     ^     ' 

l(n   A 

1 

—(^—"-0 f — 

— ^ — 1 

VU    4-      1 

U— [- — ^- 

1       1        1 

The  modern  practice  is  to  write  as  rendered, 
thus  avoiding  any  confusion  between  the  ap- 
poggiatura and  the  acciaccatura. 

Arcato  (It.)  {ar-kah'-td).  With  the  bow ;  a 
direction  to  resume  the  bow  after  pizzicato. 

Arco  (It.).     The  bow. 

Ardente  (It.)  [ar-den-teJi).     Ardent;  fiery. 

Ardente  (Fr. )  [ar-dongt).     Ardently. 

Ardito  (It.)  [ar-dee-to).      Ardently;  boldly. 

Aretinian  Syllables.  Ut,  re,  mi.  fa,  sol,  la, 
given  by  Guido  Aretinus  to  the  hexachord. 
Ut  was  changed  to  do,  as  being  a  better 
vowel  for  solemnization. 

Arditi,  I.uigi  [ar-dee-tee,  iit-eg-jee).  Conduc- 
tor and  composer;   Italy.  B.  1822;  d.  1903. 


Aria  (It.)  {ah'-ree-ak).  Air;  song.  Inform 
the  aria  consists  of  three  members :  Part  I, 
a  more  or  less  elaborate  melody  in  the  tonic 
key.  Part  II,  another  melody  in  a  related 
key.  Part  III,  a  repetition  of  the  first 
melody  to  which  a  coda  is  generally  added. 

Aria  buffa  (It.)  {boof'-fah).  An  aria  with 
humorous  words. 

Aria  concertante  (It.)  (con-cher-fan'  teh). 
An  aria  with  obbligato  accompaniment  of 
instruments. 

Aria  di  bravura  (It.)  (ilce-brah-voo' -rah)  or 
d'abilita  {cf ah-hee-lee-tah).  An  aria  with 
difficult,  showy  passages. 

Aria  fugato  (It.)  {foo-gah'-to).  An  aria 
with  an  accompaniment  written  in  fugue 
style. 

Aria  parlante  (It.)  {par-Ian' -teh).  Literally 
a  speaking  aria,  one  in  which  the  music  is 
designed  for  declamatory  effect.  The  aria 
parlante  was  the  precursor  of  the  recitative. 

Arietta  (It.)  {ah-ree-et'-ta).  A  small  aria, 
less  elaborate  than  the  aria. 

Arioso  (It.)  (ah-ree-o' -so).  A  short  melody 
at  the  end  of  or  in  the  course  of  a  recitation. 

Armonia  (It.)  {ar-mo'-nee-ah).     Harmony. 

Armoniosamente  (It.)  {ar-  mo  -  nee  -  o  -  sa- 
inen'-teh),  Armonioso  (It.)  {ar-mo-nee- 
o'-so).       Harmonious;   harmoniously. 

Arpa  (It.)  [ar'-paJi).     Harp. 

Arpege  (Fr.)  (ar-pehzh').  Arpeggio  (It.) 
[ar-ped-jeeo).  In  harp  style.  In  jMano 
music  a  direction  to  play  the  notes  of  a  chord 
in  rapid  succession  from  the  lowest  up- 
ward.     Indicated  by 


or 


A  reversed  arpeggio  is  indicated  by 


or 


In  old  music  the  arpeggio  is  sometimes 
indicated  thus : — 

I 

Arpeggiando  (It.)  {ar-ped'-jee-an-do).  In 
harp  style. 

Arpeggiato  (It.)  (ar-ped-jeea'-to).  Arpeg- 
giated. 

Arrangement  (P>.)  [ar-ranzh-fnong).  A 
piece  of  music  written  for  one  or  more  in- 
struments or  voices  adapted  to  other  instru- 
ments or  voices.    Also  called  Transcription. 

Ar''sis  (Gk.).  The  unaccented  or  upbeat; 
the  reverse  of  Thesis,  the  accented  or  down- 
beat. 

Arne,  Thomas  Augustus.  Composer;  Eng- 
land.    B.  1710;   d.  1778. 


ARTICOLATO 


16 


AUXILIARY  SCALES 


Articolato  (It.)  [^nr-tik-ko-lah'  to).  Articu- 
lated distinctly. 

Artig  (Ger.)  {akr-teech).  Neat,  pretty,  un- 
affected. 

As  (Ger.).  A  flat.  As  dur  {doohr),  A  flat 
major.      As  moll,  A  flat  minor. 

Assai  (It.)  {as-sah'-ee).  Very,  extremely, 
as  Allegro  assai,  very  fast.  Adagio  assai, 
very  slow. 

Assez  (Fr.)  [as-se/i).  Rather,  as  Assez  vite 
{I'eet),  rather  quick,  or  quick  enough. 

Assoluto  (masc. ),  Assoluta  (fern.)  (It.) 
{as-so-/oo'-io).  Absolute.  Applied  to  the 
leading  singers  of  an  opera  troupe,  as 
Prima  donna  assoluta,  first  lady  absolute ; 
Prima  uomo  assoluto,  first  man  absolute. 

Attacca  (It.)  {aZ-fak'-ka).  Attack.  Begin 
the  next  movement  with  slight  or  with  no 
pause. 

Attacca  subito  (It.)  (soo-l>ee-to).  Attack 
quickly,  without  pause. 

Attacco  (It).  Attaque  (Fr.)  {nt-tak').  The 
motive  or  theme  of  an  imitation  or  short 
fugal  subject. 

Attaquer  (Fr.)  [attak-keJi).  Same  as  At- 
tacca . 

Attack.  The  manner  of  beginning  a  phrase 
or  piece;  refers  generally  to  the  promptness 
or  firmness  of  the  performer  or  performers. 

Attendant  Keys.  The  keys  of  the  4th  and 
5th  above,  and  the  relative  minors  of  the 
principal  key  and  these  two  major  relations, 
as :—  CFG 

Rel.  minors  A  D  E 

Aubade  (Fr.)  (o-^rt^').  Morning  music  ;  the 
opposite  of  Serenade,  evening  music. 

Audace  (Fr.)  (o-dass).     Bold,  audacious. 
Auffiihrung    (Ger.)     {owf-fee-rootti).      Per- 
formance ;  representation  of  an  opera. 

Aufgeregt  (Ger.)  [geh-rehgt).  With  agita- 
tion. 

Aufgeweckt  (Ger.)  [geh-vekt).  With  ani- 
mation. 

Aufhalten  (Ger.)  (Jiol-teii).  To  suspend 
(of  dissonances).  Also,  to  hold  back  or 
retard  (of  time). 

Aufhaltung  (Ger.)    {/lol-toonk).    Suspension. 

Auflosen  (Ger.)  (/e/i-zen).  To  let  loose; 
resolve  a  dissonance. 

Auflosungszeichen  (Ger.)  {hh-soonks- 
tzeich-eii).     Releasing  sign  ;  the  jj. 

Artot   {ar-to),  Alex.    I.     Violinist;   Brussels. 

B.  1815;  d.  1845. 
Ascher,  Joseph.     Pianist.     B.  1S31  ;  d.  1869. 

Astorga,  Emmanuele  Baron  D.     Composer ; 

Sicily.      B.  1681  ;   d.  1736. 
Attwood,    Thomas.      Composer;      England. 

B. 1765;  d.  1838. 
Auber,  Daniel  Frangois  Esprit  [o-be/tr,  D.fran- 


Aufschlag  (Ger.).     Up-beat. 

Aufschwung  (Ger.)  (ow/shvoonk).  Soar- 
ing, elevation. 

Aufstrich  (Ger.).     Up-bow. 

Auftakt  (Ger.).  The  unaccented  part  of 
the  measure,  or  the  fraction  of  a  measure, 
at  the  beginning  of  a  piece. 

Augmentation.  When  the  theme  of  a  fugue 
or  imitation  is  given  in  notes  of  double  or 
quadruple  the  length  of  those  in  its  original 
form. 

Augmented,  (i)  Any  interval  greater  than 
perfect  or  major.  (2)  A  theme  written  in 
notes  of  greater  value  than  in  its  original 
form. 

Augmented  Sixth  Chord.  Called  also  ex- 
treme sharp  sixth  ;   superfluous  sixth  ;  when 

formed  thus,  A^    C    F+t,   the  Italian  sixth ; 
thus,  Aiz  C  I)  FiJ,   the  French  sixth  ;   thus, 

A[2  C  Etz  1'^,  the  German  sixth. 

Augmenter  (Fr.)  [og->/iong-tek).  To  increase 
in  force.      Same  as  Crescendo. 

Ausarbeitung     (Ger.)      {ows'-arbye-toonk\. 

Development ;  the  working  out  of  a  fugue 

or  sonata,  etc. 
Ausdruck  (Ger.)  [drook).     Expression. 

AusdrucksvoU  (Ger.).  With  expression; 
literally,  full  of  expression. 

Ausfiihrung  (Ger.)  {fee-roonk).  Execu- 
tion ; ,  manner  of  performance. 

Ausweichung  (Ger.)  {veick-oonk).  Liter- 
ally, evasion  ;   modulation  ;   change  of  key. 

Authentic.  The  Ambrosian  scales.  A  melody 
that  lies  between  the  keynote  and  its  octave 
is  called  authentic.  One  that  iies  between 
the  fourth  below  and  the  fifth  above  the  key- 
note is  called  plagal.  These  terms  are  only 
used  in  the  ecclesiastical  modes. 

Authentic.  The  church  scales  beginning  and 
ending  on  any  given  tonic  (except  B). 

Authentic  Cadence.  Tonic  preceded  by 
dominant 

Autoharp.  A  modern  instrument  resembling 
a  zither,  of  easy  performance.  The  plec- 
trum is  drawn  across  all  the  strings  at  once, 
and  those  that  it  is  not  desired  to  sound  are 
silenced  by  a  series  of  dampers  controlled 
by  the  left  hand  of  the  player. 

Auxiliary  Note.     Grace  note;  appoggiatura. 

Auxiliary  Scales.     Related  scales. 

soa  es-pree).    Opera  composer;   France.    B. 

1784;  d.  1871. 
Audran,    Edmond    {o-drong).      France.      B. 

1842. 
Auer  (our),  Leopold.     Violinist;    Germany. 

B.  1845. 
Avison,  Charles.     Composer;   England.     B. 

1710;  d.  1770. 


B 


17 


BARCAROLE 


B 


B.  The  seventh  or  leading  tone  of  the  nat- 
ural major  scale;  in  German,  the  note  or 
key  of  lit*,  B|3  being  called  H. 

Baborak  or  Baboracka.   A  Bohemian  dance. 


Backfall 

lute  music,  written 


An   ornament   in  harpsichord  or 


played 


£J 


Badinage  (Fr.)  (Jiah-dee-naje).  Banter;  rail- 
lery. 

Bagatelle  (Fr.)  (bah-gah-tell).  A  trifle;  a 
name  frequently  given  to  short  pieces  of 
music. 

Bag-pipe.  An  instrument  consisting  of  a 
leather  bag  into  which  air  is  forced  either 
from  a  bellows  or  by  the  mouth  of  the 
player;  furnished  with  from  two  tcv  four 
pipes,  one  pipe  with  double  reed  pierced 
with  holes  upon  which  the  melody  is  played, 
called  in  Scotland  the  chanter ;  the  remain- 
ing pipes  with  single  reeds,  called  drones, 
sound  continuously  the  first  and  fifth  of  the 
scale  or  first  fifth  and  octave. 

Bajadere  or  Bayadere  [by-a-dehr).  East 
Indian  dancing  girl. 

Bakkia  {bak  -kee  -ah).  A  Kamskatdale 
dance. 

Balabile  (It.)  {bah-lah-hee' -leJi).  Any  piece 
of  music  written  for  dancing  purposes. 

Ballad.  A  simple  song,  originally  a  song  to 
accompany  dancing ;  derived  from  the  low 
Latin  word  ballare,  to  dance ;  in  its  French 
form,  ballade,  it  is  used  by  modern  com- 
posers as  a  title  for  extended  lyric  compo- 
sitions, as  the  ballades  of  Chopin. 

Balladenmassig  (Ger.)  (^bal-la'  -den-meh- 
sicli).      In  ballad  style. 

Ballad-opera.  An  opera  made  up  of  simple 
songs,  and  without  recitative. 

Balafo  (bah-lah-fo).  An  African  instrument 
resembling  the  xylophone ;  a  South  Ameri- 
can variety  is  called  the  marimba. 

Balalaika  (Russ.)  {bah- lah-lye'-ka).  A 
Russian  guitar  with  three  or  four  strings, 
the  body  triangular. 

Ballata  (It.).     A  ballad. 

Ballerina  (It.)  {bal-leh-ree' -nah).  A  female 
ballet  dancer. 

Bach,  Johann  Sebastian.  Composer;  Ger- 
many.     B.  1685  ;   d.  1750. 

Bach,  Carl  Philipp  Emanuel.  Inventor  of 
the  sonata;  Germany.      B.  1714;   d.  1788. 

Bach,  Johann  Christoph  Friedrich.  Organ- 
ist; Germany.      B.  1732;   d.  1795. 

Bach,  Wilhelm  Friedemann.    Organist ;  Ger- 


Ballet  (Eng.),  called  also  Fa-la.  An  old 
form  of  part  song  in  simple  counterpoint. 

Ballet  (Fr.)  [bal-lfh).  A  combination  of 
music  and  dancing,  designed  to  tell  a  story 
in  pantomime. 

Balletto  (It.)  {bal-let'-to).  A  ballet.  Used 
as  a  name  for  a  movement  by  Bach. 

Ballo  (It.).      A  dance;   a  ball. 

Ballo  in  maschera  [inas-keh-rali).  Masked 
ball. 

Band.  (l)  A  company  of  instrumentalists. 
(2)  The  term  is  used  to  distinguish  the  vari- 
ous groups  of  instruments  in  the  orchestra ; 
as,  string  band,  wood  band,  brass  band.  (3) 
The  commonest  use  of  the  word  is  as  ap- 
plied to  a  company  of  players  on  brass 
instruments.  (4)  A  band  composed  of  wood 
and  brass  instruments  is  called  a  harmony 
band. 

Band  (Ger.)  [bonf).     A  volume  ;  a  part. 

Banda  (It.)  [ban-dah).      A  band. 

Bandola  [ban-do' -laJt).  A  variety  of  man- 
dolin. 

Bandera  (Fr. )  [ban-  do'  -  7-ah),  Bandore 
(Eng.),  Pandoura  (Gk.).  An  obsolete 
instrument  of  the  guitar  family. 

Bandurria  (Span. )  {ban  -  door  -  ree  -ah).  A 
variety  of  guitar  with  wire  strings. 

Banger,  Bania,  Banja,  Banjo.  An  instru- 
ment resembling  a  guitar,  with  a  circulai 
body,  consisting  of  a  broad  hoop  of  woo(^ 
covered  with  parchment,  generally  provided 
with  five  strings.  The  modern  banjo  is 
furnished  with  frets  and  with  a  screw  mech- 
anism to  tighten  the  parchment. 

Bar,  A  line  drawn  across  the  staff  or  staves 
to  divide  the  music  into  portions  of  equal 
duration.  The  portion  enclosed  between 
two  bars  is  called  a  measure.  The  almost 
universal  custom  of  musicians,  however,  is 
to  use  bar  in  the  sense  of  measure. 

Barbaro  (It.)  {bar' -  bah  -  ro).  Savagely; 
ferocious. 

Barbiton  (Gk.).  (i)  A  variety  of  lyre.  (2)  A 
string  instrument  resembling  the  violoncello 

(obsolete). 

Barcarole,  Barcarolle  (Fr.)  {bar-ca-rol), 
Barcarola  (It.)  {bar-ca-ro-lah),  Barcaru- 

many.      B.  1710;    d.  1784.      Sons  of  J.  S. 
Bach. 

Baillot,  Pierre  Marie  Frangois  de  Sales  {bai- 
yo).    Violinist;   France.    B.  1771  ;  d.  1842. 

Balatka,  Hans.  Pianist  and  conductor;  Ger- 
many.    B.  1827. 

Balfe,  Michael  William.  Opera  and  song 
writer.     B.  1808  ;  d.  1870. 


BAREM 


18 


BASSOON 


ola  (It.)  [liaj'-ca-roo-o-Ia).  A  boat-song; 
gondolier's  song  ;  vocal  or  instrumental  com- 
positions in  the  style  of  the  Venetian  gondo- 
liers' songs. 

Barem  (Ger. )  {bah-rehni).  A  soft  organ- 
stop  ;  closed  pipes  of  eight-  or  sixteen-foot 
tone. 

Bargaret  (Fr.)  (/;rtr-.<;^(?//-;-,?/?),  Barginet  (Fr.) 
{bar-zhee-neh),  Berginet  (Fr. )  (behr-zhee- 
tieh),  Bergiret  (^bchr-zhee-reli).  A  shep- 
herd's song  ;  pastoral  song.  From  berger 
(Fr. ),  a  shepherd. 

Baribasso  (It.).     A  deep  bass  voice. 

Bariolage  (Fr. )  {bah-ree-o-laje),  A  medley; 
a  series  of  cadenzas. 

Baritenor.     A  low  tenor. 

Baritone.  A  brass  instrument ;  a  clarionet 
of  low  pitch  ;  an  obsolete  variety  of  the  viol 
family ;  the  male  voice  ranging  between 
bass  and  tenor  (also  written  barytone)  ;  the 
F  clef  on  the  third  line  (not  used  now). 

Barocco  (It.),  Barock  (Ger.),  Baroque  (Fr.) 
[ba-rok).      Irregular;    whimsical;    unusual. 

Barquade,  Barquarde  (Fr.)  [bar-kad,  bar- 
kafd).      Same  as  Barcarole. 

Barre  (Fr.)  [bar-reh').  In  guitar  playing, 
pressing  the  first  finger  of  the  left  hand 
across  all  the  strings ;  the  finger  acts  as  a 
temporary  "nut,"  raising  the  pitch  of  the 
strings. 

Barre  (Fr.)  [bar).     Bar. 

Barre  de  repetition.  A  double  bar  with  re- 
peat marks. 

Bas  dessus  (Fr.)  [ba/i-des-soo^).  The  mezzo- 
soprano  voice. 

Base.     Old  way  of  writing  bass. 

Bass,  Basso  (It.),  Basse  (Fr.),  Bass 
(Ger.).     Low ;  deep. 

Basse  chantante  (Fr. )  {shan-tont).  Bari- 
tone voice. 

Basse  chiffree  (Fr. )  \shif-freli).  Figured 
bass. 

Basse  continue  (Fr. ) .   Same  as  Figured  Bass. 

Basse  de  cremone  (Fr. )  (cveh-mone).  Bas- 
soon. 

Basse  d'harmonie  (Fr.)  [d' a r- mo-nee).  The 
ophicleide. 

Basse  de  hautbois  (Fr.).  The  English 
horn. 

Basse  de  viole  (Fr.).     Violoncello. 

Basse  de  violon.     The  double  bass. 

Bargiel,  Woldemar  {bar-gee! ,  vol  deh-iiiar"). 
Composer  and  pianist ;  Germany.  B.  1828; 
d.  1897. 

Barrnan,  Carl.  Pianist  and  composer;  Ger- 
many and  U.  S.     B.  1839. 

Barnb_^,  Joseph.  Composer;  England.  B. 
"838;   d.  1896. 

Barnett,  John.   Composer.   B.  1802;  d.  tQ^o 


Basse  taille  (Fr.)  [ta/i-ee).      Baritone  voice. 
Bass-bar.    A  strip  of  wood  glued  to  the  belly 

of   instruments  of  the  violin  family  under 

the  lowest  string. 

Bass  Clef.     The  F  clef  on  the  fourth  line. 

Bass-Flote    (Ger.)    {Jla-teh).      A  low-pitch 

flute. 
Bass-Geige  (Ger.).     The  violoncello. 

Bass-Pommer  (Ger.).   An  obsolete  ancestor 

of  the  bassoon. 
Bass-Posaune  (Ger.)    [po-zc7u-neh).     Bass 

trombone. 

Bass-Schliissel    (Ger.)    [sc/ilis-sel).       Bass 

clef. 
Bass-Stimme     (Ger.)     [s'im-me/i).      Bass 

voice  or  part. 

Bass  Tuba.    A  brass  instrument  of  low  pitch. 

Bass  Viol.  The  largest  viol  of  a  set  or 
"  chest  "  of  viols. 

Bass  Voice.     The  lowest  male  voice. 

Basset  Horn.  A  variety  of  the  clarionet, 
ranging  from  F  below  bass  staff  to  C  above 
treble  staft  ;  rich  quality  of  tone;  a  favorite 
of  Mozart,  who  used  it  in  several  of  his 
operas  and  in  his  Requiem  Mass. 

Basetto  (It.).  An  eight-  or  sixteen-foot  reed- 
stop  in  the  organ  ;   obsolete  name  for  viola. 

Basso  (It.).    The  lowest  part ;   a  bass  singer. 

Basso  buffo  (It.).     A  comic  bass  singer. 

Basso  cantante  (It.)  {can-tan' -teK).  A  vocal 
or  singing  bass. 

Basso  concertante  (It.)  {con-cker-tan' -teli). 
The  principal  bass  that  accompanies  solos 
and  recitatives. 

Basso  continue  (It.).     A  figured  bass. 

Basso  obbligato  (It.)  {ob-blee-gah'-to').  An 
essential  bass ;  one  that  may  not  be  dis- 
pensed with. 

Basso  ostinato  (It.)  {os-tee-nah'-to).  Liter- 
ally, obstinate  bass  ;  a  continuously  repeated 
bass  with  constant  variation  of  the  upper 
parts  ;  generally  used  as  the  foundation  of 
that  member  of  the  suite  called  the  Passa- 
caglia. 

Basso  profundo  (It.).  A  very  deep,  heavy 
bass  voice. 

Basso  ripieno  {\\..)  {ree-pee-eh'-no).  A  "  fill- 
ing up  ' '    bass.      See  Kipietio. 

Bassoon,  Basson  (Fr.),  Fagotto  (It.), 
Fagott  (Ger.).  A  wood  wind  instrument 
with   double  reed ;    the  bass  of   the    wind 

Barnett,    John    Francis,    nephew    of   above. 

tJoiii|ju:,t,i  and  pianist;   England.      B.  1837; 

.1.  1898. 
Bartholomew,    Mrs.     Ann.       Organist    and 

composer;    England.     B.  1811  ;   d.  1S91. 

Bartlett,  Homer  N.  Composer;  U.  S.  A. 
B.  1846. 


BASSON  QUINTE 


19 


BINARY  FORM 


band  ;   compass  from  B!2  below  bass  staff  to 
BJ2  in  treble  staff  (two  or  three  higher  notes 
are  possible). 
Basson  quinte  (Fr. )  [kangt).     A  bassoon  a 
fifth  higher  than  the  preceding. 

Biton(Fr.).  (i)  The  stick  used  by  a  conductor; 
also,  figuratively,  his  method  of  conducting. 
(2)  A  pause  of  several  measures,  signified 
thus 

12 


in  modern  music,  viz.:  one  or  two  heavy 
diagonal  lines  with  figures  over  to  indicate 
the  number  of  bars  rest. 

Batterie  (Fr.)  {hat-teh-ree).  (l)  The  roll  on 
the  drum.  (2)  Repeated  or  broken  chords 
played  staccato.  (3)  Striking  instead  of 
plucking  the  strings  of  the  guitar. 

Battuta  (It.)   (bat-too' -tah).     A  measure  or 

bar. 
Bauerpfeife  (Ger. )  {bower-pfifeh).  An  8-foot 

organ-stop  of  small  scale. 

Baxoncillo  (Sp.)  [bah-hon-theeF -yo).  Open 
diapason. 

Bayadere.     See  Bajadire. 
Bayles    (Sp.)    [bahl-yelis).      Comic    dancing 
songs. 

Bearings  or  Bearing  Notes.  The  notes  first 
tuned  by  an  organ-  or  piano-tuner  as  a  guide 
to  the  rest. 

Beat.  ( I )  The  motion  of  the  hand  or  baton 
by  which  the  time  (rate  of  movement)  of  a 
piece  is  regulated.  (2)  The  equal  parts 
into  which  a  measure  is  divided.  (3)  The 
throbbing  heard  when  two  sounds  not  ex- 
actly in  unison  are  heard  together.  (Beats 
are  also  produced  by  other  intervals.) 

Bebung  (Ger.)  [beh-booiik).  Trembling;  an 
effect  obtained  on  the  obsolete  clavichord 
by  rapidly  vibrating  the  finger  u|)  and  down 
without  raising  it  from  the  key  ;  the  tremolo- 
stop  in  an  organ. 

Batiste,  Antonio  Edward  (^ba-teest).  Organ- 
ist and  composer;  France.  B.  1820 ;  d. 
1876. 

Beethoven,  Ludwig  van  ibay-to-fett).  Com- 
poser ;   Germany.     B.  1770;   d.  1S27. 

Bellini,  Vincenzo  {bel-lee-nee,  vin-chertt-so). 
Opera;   Italy.      B.  1802;   d.  1835. 

Benda,  Georg.  Composer ;  Bohemia.  B. 
1721  ;  d.  1795. 

Bendel,  Franz.  Pianist  and  composer ;  Bo- 
hemia.    B.  1833;  d.  1874. 

Bendix,  Otto.  Composer  and  pianist ;  Copen- 
hagen.    B.  1S50. 

Benedict,  Sir  Julius.  Composer  and  pianist ; 
Germany.      B.  1804;  d.  1885. 


Becken  (Ger.).     Cymbals. 

Begeisterung  (Ger.)  [be - geis' -  te -  roonk). 
Spirit ;   excitement. 

Begleitung  (Ger.)  {be-glei'-too7ik).  Accom- 
paniment. 

Bell.  (l)  A  cup-shaped  metal  instrument. 
(2)  The  cup-shaped  end  of  brass  and  some 
wood  instruments. 

Bell  Diapason,  Bell  Gamba.  Organ-stops 
with  bell-shaped  mouth. 

Bellezza  (It.)  (bel-let'-zd).  Beauty  of  ex- 
pression. 

Bellicosamente  (It.)  [bel-le-co-sa-vien' -teh). 
In  a  warlike  manner;   martially. 

Belly.  The  upper  side  of  instruments  of  the 
violin  and  guitar  families. 

Beklemmt  (Ger.)  (beh-kkmt').  Anxious; 
oppressed. 

Bemol  (Fr.)  [beh-mol).     The  sign  b. 

Ben  (It.)  [bekn).  Well;  as,  ben  marcato, 
well  marked. 

Bene  placito  (It.)  (beh-neh pla-chee'-to).  At 
pleasure. 

Bequarre  or  Becarre  (Fr.)   {beh-kar).     The 

sign  t[. 
Berceuse  (Fr.)  [behr-soos).     A  cradle-song  ; 

lullaby. 
Bergomask  or  Bergamask.     A  lively  dance 

in  triple  time. 
Bes  (Ger. )  {behs) .     B  double  flat. 
Bestimmt   (Ger.).     With  energy;   con  ener 

gia. 

Bewegt  (Ger.)  (beh-vehgt').  Moved;  with 
emotion ;   con  moto. 

Bev^egung  (Ger.)  [beh-veh' -goonk').  Motion. 

Bien-chante  (Fr. )  {be-ang-shong-tek).  Liter- 
ally, well  sung ;   smoothly;  cantabile. 

Bifara  (Lat.).  An  organ-stop;  same  as  Vox 
auge/ica ;  two  pipes  not  in  perfect  unison. 

Binary  Form.  A  movement  founded  on  two 
principal  themes. 

Bennett,  Sir  Wm.  Sterndale.  Composer  and 
pianist;   England.      B.  1816;   d.  1875. 

Berg,  Conrad  M.  Pianist;  Alsace.  B.  1785; 
d.  1852. 

Beriot,  Ch.  Auguste  de  [beh-ree-o).  Violinist; 
France.     B.  1802;  d.  1870. 

Berlioz,  Hector  {behr-lee-6).  Composer; 
France.      B.  1803  ;  d.  1869. 

Bertini,  Henry  I.  [ber-tee-nee).  Pianist', 
England.     B.  1798;  d.  1876. 

Best,  Wm.   Thomas.      Organist ;    England. 

B.   1826;  d.  1897. 
Beyer,  Ferdinand.     Pianist ;    Germany.     B. 

1803 ;   d.  1863. 

Biletta,  G.  Emanuele  (3^^-/f/-/«).  Composer; 
Italy.      B.  1825. 


BINARY  MEASURE 


20 


BRAVURA 


Binary  Measure.    A  measure  wilh  two  beats. 

Bind.  A  tie.  The  same  sign,  when  over  two 
or  more  notes  on  different  degrees,  is  called 
a  slur. 

Bis   (Lat.).      Twice.      When  placed  over  a 

short  passage,  inclosed  thus,  Bis  signi- 
fies that  it  is  to  be  played  twice. 

Bit.  A  small  piece  of  tube  used  to  lengthen 
the  trumpet  or  other  brass  instrument  to 
alter  the  pitch. 

Bizzarramente  (It.)  {bid-zar7-a-mente),  Biz- 
zaria  (It.)  {bid-zarria),  Bizzaro  (It.)  {bid- 
zarro).     Bizarre;   fantastic;  odd;  droll. 

Blanche  (Fr. )  (blottgsh).  A  half-note; 
minim. 

Blanche  pointee  {poin-teK).  A  dotted  half- 
note. 

Blase-Instrument  (Ger.)  {blah-zeh).  Wind 
instrument. 

Bob.     A  technical  term  in  bell  ringing. 

Bocca    (It.).     The    mouth.        Con    bocca 

chiusa    {^kee  -  00  -  so),  with  closed  mouth; 

humming. 
Bocca  ridente  (It.)  {ree-den' -teli).     Smiling 

mouth  ;   the  proper  position  of  the  mouth  in 

singing. 
Bocktriller  (Ger.).     A  bad  trill.     (Literally, 

goat's  bleat). 
^o\s{Yx.)  (bo-a).  Wood.   Les  bois,  the  wood 

wind. 
Bolero  (Sp.)   (bo-leh-7-o).      Spanish  dance   in 

^-time ;  also  called  Cachuca  [ka-ckoo-ka). 

Bombard.  An  8  or  1 6-foot  reed-stop  in  the 
organ. 

Bombardon.  A  large,  deep-toned  brass  in- 
strument. 

Bird  or  Byrd,  Wm.  Composer;  England. 
B.  1538;  d.  1623. 

Bishop,  Anna.      Soprano    singer;    England. 

B.  1810;  d.  1884. 
Bishop,   Sir    Henry    Rowley,    her   husband. 

Composer,  opera  and  song  ;   England.     B. 

1785;   d.  1S55. 
Bizet,  "Georges"  (bee-zeh).  Opera;  France. 

B.  1838;  d.  1875. 
Blahetka,  Leopoldine    {blah-et-kd).     Pianist 

<nnd  composer;  Austria.     B.  1811;   d.  1887. 
Blangini,  Giuseppe  Marc.  Mari  Felice  (blan- 

jee-nee).     Tenor,  composer,  teacher;   Italy. 

B.  1781  ;   d.  1814. 
Bloomfield-Zeisler,  Fanny.     Pianist ;   Aus- 
tria.     B.  1S65. 

Blumenthal,  Jacob  {bloo-men-tall^.  Song 
writer,  pianist;   Germany.      B.  1829. 

Boccherini,  Luigi  [bok-keh-ree-nee).  Com- 
poser;  Italy.      B.  1740;  d.  1805. 

Boehm,  Theobald  [be/ii/i).  Improved  the 
tlute;   Bavaria.      B.  1794;  d.  1881. 


Bouche  (masc. ),  Bouchee  (fem. )  (Fr.) 
iboo-sheh).  Closed.  Applied  to  organ-stops 
with  closed  mouth. 

Bouffe  (Fr.)  I^boof).     Comic. 

Bourdon.  (l)  A  closed  organ-stop  of  16  or 
32-foot  tone.  (2)  In  France  also  4  and  8- 
foot  stops,  analogous  to  the  stop  diapason, 
are  so  called.  (3)  A  drone  bass.  (4) 
The  largest  bell  of  a  chime. 

Bourree  (Fr.)  (boor-rek).  A  rapid  dance  in 
I  or  J  time,  frequently  used  as  one  of  the 
movements  in  a  suite. 

Bow.  (l)  The  implement  of  wood  and 
horse-hair  by  means  of  which  the  strings  of 
the  violin  family  of  instruments  are  set  in 
vibration.      (2)   The  rim  of  a  bell. 

Bowing.  (l)  The  art  of  managing  the  bow. 
{2)  The  signs  indicating  the  way  in  which 
the  bow  is  to  be  used. 

Brabancjonne  (Fr.)  [Iva  -  ban  -  sonn) .  The 
Belgian  national  air. 

Brace.     The  sign  \    used  to  join  two  or  more 

staves. 

Bransle  .(Fr.)  or  Branle  [hrongl).  Brawl. 
An  ancient  F"rench  dance  in  |  time. 

Bratche  (Ger.)  (bi-atck-eh).  The  viola.  Cor- 
ruption of  the  Italian  Braccia  {bj-dts-ckia), 
the  arm-viol. 

Bravo  (masc.)  (It.),  Brava  (fem.)  (bra- 
7'ah),  Bravi  (plu.)  (bra-vee).  Literally, 
brave.  Used  to  applaud  performers,  mean- 
ing "  well  done." 

Bravura  (It.)  {bra  -voo'  -  rah).  Boldness; 
brilliancy.  A  composition  designed  to  ex- 
hibit the  powers  of  the  jjerformer. 

Boieldieu,    Frangois   Adrien    [boa-el-dee-oo). 

Opera  writer;   F"rance.     B.  1775;  d.  1834. 
Boito,  Arrigo   {bo-ee-td).     Composer,    opera; 

Italy.     B.  1842. 
Bolck,  Oscar.    Pianist;  Germany.     B.  1839; 

d.  1888. 
Bonewitz,   J.    H.      Composer   and    pianist; 

Bavaria.      B.  1839. 
Bononcini    or    Buononcini,   Giovanni  Bat- 

tista     (bo-non-chee-nee      or     bu-o-non-chee- 

nee).      Opera,    Handel's   rival;    Italy.      B. 

1662  ;  d.  1750. 
Bordogni,  Marco  {Jwr-done-yee).     .Singer  and 

teacher;    Italy.      B.  1788;   d.  1856. 
Bottesini,  Giovanni    [bot-teh-ste-nee).      Con- 

trabassist,  composer  ;   Italy.       B.    1821  ;   d. 

1890. 
Bowman,  E.  M.      Organist,  theorist ;    U.  S. 

A.     B.  1848. 
Brahms,  Johannes.     Composer  and  pianist; 

Germany.     B.  1833;   d.  1897. 


BREAK 


21 


CADENCE 


Break.  (l)  The  point  at  which  the  register 
of  the  voice  changes.  (2)  The  point  at 
which  the  lower  octave  is  resumed  in  com- 
pound organ-sto[)s.  (3)  The  point  where 
the  quality  of  the  tone  changes  in  wood 
instruments  (of  the  clarionet  family  espe- 
cially). 

Breit  (Ger.)  [bright).     Broad;  stately. 

Breve  [from  Lat.  brevis,  short].  Formerly 
the  shortest  note ;  now  the  longest,  ecjual  in 
value  to  two  whole  notes.      Made 


h    "    M 


Bridg'e.  A  piece  of  wood  resting  on  the 
sound-board  or  resonance  box,  upon  which 
the  strings  of  piano,  violin,  guitar,  etc., 
rest. 

Brillante  (Fr.)  {bree-yant),  Brillante  (It.) 
(breel-lan-teli).      Brilliant. 

Brindisi  (It.)  {In-in-Jee'-zee).  Drinking  song 
in  4  or  I  time,  so  written  as  to  resemble  the 
Tyrolese  Jodl. 

Brio  (It.)  [bree-o).      Fire;  spirit. 

Brioso   (It.).      Cheerfully;   briskly;  joyfully. 

Bridge,  John  Frederick.  Organist,  com- 
poser;   England.      B.  1844. 

Brinkerhoff,  Clara  M.     Soprano.     B.  1830. 

Bristow,  Frank  L.  Composer;  U.  S.  A. 
B.  1844. 

Bristow,  George  F.  Composer;  U.  S.  A. 
B.  1825. 

Broadwood.  John.  Piano  maker;  England. 
B.  1742;  d.  1812. 

Bronsart,  Hans  von.  Pianist,  composer ; 
Germany.      B.  1830. 

Bruch,  Max.  Composer;  Germany.  B. 
1838. 


Broken  Cadence.    An  interrupted  cadence. 
Broken  Chords.     See  Arpeggio. 

Brumm-Stimmen  (Ger.).  Humming  voices; 
con  bocca  chiusa. 

Bruscamente  ( It.  )  (  broos  -  ka-vien'-teh  ). 
Roughly ;  strongly  accented. 

Brustwerk  (Ger.)  {broost-vehrk).  The  pipes 
in  the  organ  belonging  to  the  swell  or  choir 
organ. 

Buca  (It.),  Schall-Loch  (Ger.).  The  sound- 
hole  of  a  guitar,  mandolin,  etc. 

Buccolica  (It.)  {buk-ko' -li-ka).,  Bucolique 
(Fr. )  (boo-ko-leek).      In  a  rustic  style. 

Buffo  (masc),  Buffa  (fem. ).  A  comic  opera, 
or  air,  or  singer. 

Bugle.  (l)  A  straight  or  curved  hunting 
horn.  (2)  A  keyed  horn,  generally  made 
of  copper.    Chiefly  used  for  military  signals. 

Burden.  Old  name  for  the  refrain  or  chorus 
to  a  song. 

Burletta  (It.).     A  musical  farce. 

Busain.     A  16-foot  reed-organ  stop. 

Buck,  Dudl-ey.       Composer,  organist;   U.  S. 

A.  B.  1839;   d.  IQOQ. 

Bull,  "Ole"  Bornemann.  Violinist;  Nor- 
way.     B.  1810  ;  d.  1880. 

Biilow,  Hans  von  (behl-d).  Pianist,  com- 
poser;  Germany.      B.  1830 ;  d.  1895. 

Burchard,  Carl.  Pianist ;  Germany.  B. 
1S20;    d.  1896. 

Burgmuller,  Johann  Friedrich  [boorg-meel- 
ler).  Pianist,  composer;  Germany.  B. 
1801  ;  d.  1874. 

Burmeister,    Richard.       Pianist ;   Germany. 

B.  i860. 


c 


C.  The  first  note  in  the  natural  major  scale. 
Middle  C,  the  C  lying  between  the  fifth  line 
of  the  bass  staff  and  first  line  of  the  treble 

staff;   the  C  clef     tiCr      or       IQI     always 


INI 


signifies  this  C. 
Cabaletta  (It.).  ("  A  little  horse,"  so  called 
from  the  rapid  triplet  accompaniment  gener- 
ally used  with  it. )  A  vocal  rondo,  the  theme 
often  repeated  with  elaborate  variations. 

Cabinet-d'orgue    (Fr.)    [ca-bee-neh-d' org). 

Organ  case. 
Cabinet  Organ.   A  reed  organ  (American)  in 

Caccini,  Guilio  {catch-ee-nee,julio).     Opera; 
Italy.     B.  1558;  d.  1640. 


which   the  air  is  drawn   instead   of  forced 
through  the  reeds. 

Cabinet  Piano.  An  old-style  lofty  upright 
piano. 

Caccia  (It.)  [cat'-chia).      Hunting  chase. 

Cachucha  (Sp.)  {ca-choo'-cha).  The  same 
as  Bolero. 

Cadence  [from  Lat.  cado,  to  fall].  The  end 
of  a  phrase,  part,  piece.  The  principal 
cadences  are  as  follows :  whole,  or  perfect, 
dominant  to  tonic;  half,  or  imperfect,  tonic 
to  dominant;  deceptive,  dominant  to  sub- 
dominant  or  submediant. 

"  Cafarelli,"  Gaetano  Majorano  [ca-fa-rel-lee, 
gah  eh-tn-no  mak-yo-rak-no).  .Sopranist; 
'Italy.      B.  1703;   d.  1783. 


CADENZ 


22 


CANON 


^ 


-(S*- 


3i 


-G^- 


zn^=i\ 


Perfect. 


Plagal. 


:^ 


% 


i 


=r 


-es*- 


i 


-(5^ 


-"^ 


:^ 


i%^ 


Deceptive. 


Plagal  cadence,  subdominant  to  tonic.  In 
the  perfect  cadence  the  dominant  is  generally 
preceded  by  the  6-4  of  the  tonic;  in  the  half 
cadence  the  6-4  of  the  tonic  before  the  domi- 
nant which  is  the  final ;  half  and  deceptive 
cadences  a^e  used  in  the  course  of  a  piece ; 
perfect  and  plagal  at  the  end.  The  Phrygian 
cadence  consists  of  the  following  chords  : — 


I^ 


=fee 


A  long,  brilliant,  vocal  or  instrumental  flour- 
ish introduced  just  before  the  close,  or  before 
the  return  of  the  principal  theme,  is  also 
called  a  cadence  (in  Italian,  cadenza). 

Cadenz  or  Kadenz  (Ger. ).      Cadence. 

Cadenza  (It.).  A  cadence.  The  Italian 
word  is  generally  used  when  applied  to  the 
kind  of  passage  described  alsove. 

(^a-ira  (Fr.)  {sah-era).  That  will  do;  lit., 
that  will  go.  A  revolutionary  song  in 
France. 

Caisse  (Fr.)  {case).      A  drum. 

Caisse  claires  [dare).  Kettle  drums. 
Grosse  Caisse,  large  drum. 

Caisse  roulante.     Side  or  snare  drum. 

CaPamus  (Lat.).  A  reed.  From  this  are 
derived  the  words  Chalumeau  (Fr.)  {slia- 
loo-tno),  the  first  register  of  the  clnrionet,  and 
Shawm,  an  obsolete  reed  instrument  used 
in  the  Bible  as  the  translation  of  a  Hebrew 
instrument. 

Calan''do  (It.)  [from  cnlare,  to  go  down  or 
decrease].     Getting  both  slower  and  softer. 

Calkin,    James.       Composer.       B.    1786;    d. 

1862. 

Calkin,  James  Baptiste,  son  of  preceding. 
Pianist,  composer;  England.  B.  1S27;  d. 
1905. 

Callcott.  John  Wall.  Composer.  B.  1766; 
d.  1S21. 


Calandrone  (It.)  \_calaHdra,  a  lark].  A 
small  reed  instrument  resembling  the  clari- 
onet. 

Cala^ta  (It.).      A  lively  dance  in  |  time. 

Calcan'do  (It.)  [from  ^-a/a/rf,  to  tread  upon]. 
Hurrying  the  time. 

Call.  A  military  signal,  given  by  drum  or 
bugle. 

Calma  (It.).      Calm,  quiet. 

Calma^to  (It.).     Calmed,  quieted. 

Calore  (It.)  \kal'-o-reh).     Warmth,  passion. 

Caloro'so  (It.).      Warmly,  passionately. 

Cambiata  (It.)  {canih-ya'-tn)  [from  cam- 
biare,  to  change].  Nota  cambiata,  chang- 
ing note  ;    a  dissonant  struck  on  the  accent. 

Camera  (It.)  (kn'-mek-ra).  Chamber.  Mu- 
sica  di  camera,  chamber  music. 

Camminan'do  (It.)  [from  cainminare.,  to 
travel  or  walk].  Walking,  flowing.  Same 
as  Andante. 

Campa'na  (It.).     A  bell. 

Campanello  (It.)  [kam-pah-nel' -lo).  A 
small  l)ell. 

Campanet'ta  (It.).  Instrument  consisting 
of  a  series  of  small  bells  tuned  to  the  musi- 
cal scale,  played  either  with  small  hammers 
held  in  the  hands,  or  by  means  of  a  key- 
board. 

Campanology.  The  art  of  making  and  using 
bells. 

Canaries.  A  lively  dance  in  \  time,  of  Eng- 
lish origin. 

Can'crizans  [Lat.  cancer.,  a  crab].  A  term 
applied  to  a  canon  in  which  the  "  follower  " 
takes  the  theme  backward. 

Canon  (Gk.).  Law  or  rule.  (i)  The 
measurement  of  the  ratios  of  intervals  by 
means  of  the  monochord.  (2)  A  musical 
composition  in  which  each  voice  imitates  the 
theme  given  out  by  the  leading  voice ;  this 
imitation  may  be  at  any  interval  above  or 
below,  or  may  begin  at  any  point  of  the 
theme.  There  are  many  varieties  of  the 
canon.  The  following  are  the  most  import- 
ant, if  any  importance  attaches  to  such  dry 
productions :  Close  Canon,  the  entrance 
of  the  voices  indicated  l)y  a  sign  ;  the  parts 
not  written  out.  Open  Canon,  the  re- 
verse of  this;  i.e.,  written  in  full.  Finite 
Canon,  one  with  an  ending.  Infinite 
Canon,  one  without  an  ending. 

There  are  also  canons  by  augmentation, 
by  diminution,  by  inversion,  by  retrogression 
(cancrizans),  etc.,  etc. 

Callcott,  William  Hutchings,  son  of  preced- 
ing.     Composer.      B.  1S07  ;   d.  1882. 

Campagnoli,  Bartolomeo  [cam-panyo-lee). 
Violinist;   Italy.      B.  1751  ;   d.  1827. 

Camporese,  Violante  {catn-poreh-seli).  So- 
prano;  Italy.      B.  1785;   d.  1839. 


CANONIC  IMITATION 


23 


CATGUT 


Canonic  Imitation.     See  Canon. 

Cantabile  (It.)  (can-tah' -bee-leJi)  [from  cati- 
tare,  to  sing].      In  a  singing  style. 

Cantan''do  (It.).     Singing. 

Canta^ta.  (l)  A  mixture  of  aria  and  recita- 
tive for  one  voice.  (2)  A  short  oratorio,  or 
a  secular  work  in  oratorio  form,  sung  vi'ith- 
out  costume  or  action. 

Cantatore  (It.)  {can-ta-to'-re)i).  A  singer, 
male. 

Cantatrice  (It.)  [can-ta-tree' -cJnli).  A  singer, 
female. 

Cantilina  (Lat.).  (i)  A  folk-song.  (2)  A 
solfeggio.  (3)  A  smooth-flowing  melody. 
(4)   Anciently  the  Cantus  firmus. 

Canticle  (Lat.).  (i)  A  songof  praise.  Cantico 
(It.),  Cantique  (Fr.)  [kan-teek),  Lobge- 
sang  (Ger.)  (Jope-ge-zang).  (2)  The  parts 
of  Scripture — Te  Deum  and  Benedicite 
Omina  Opera — that  form  the  chief  part  of 
the  musical  service  of  the  Protestant  Epis- 
copal Church. 

Cantino  (It.).     .See  Chanterelle. 

Canto   (It.).      The   air;    the   melody;   upper 

part. 
Canto  a  capella  (It.).     Sacred  music. 
Canto  fermo  (It.).     Cantus  firmus. 

Canto  figura^ to  (It.).  Florid  melody ;  melody 

with  variations. 
Canto  primo  (It.).     First  soprano. 

Canto  recitative  (It.).  Declamatory  sing- 
ing. 

Canto  ripieno  (It.)  [ree-pe-eh'-nd).  Addi- 
tional soprano  chorus  parts. 

Canto  seconda  (It.).     Second  soprano. 

Cantor  (Lat.),  Kantor  (Ger.).    A  precentor. 

Cantore  (It. ).     A  singer  ;  chorister. 

Cantoris  (Lat.).  The  side  of  a  cathedral 
choir  (the  north)  where  the  cantor  sits  is 
called  the  cantoris ;  the  opposite  side  is 
called  the  decani  side,  where  the  dean'sits. 

Cantus  (Lat.).     Song. 

Cantus  ambrosia'nus  (Lat.).     Plain  song. 

Cantus  mensura'bilis  (Lat.).  Measurable 
song ;  the  name  given  to  music  when  first 
written  with  notes  of  definite  length. 

Canzona  (It. )  (r(z«Aj'i7''-«ia:).  (l)  A  part  song 
in  popular  style.  (2)  An  instrumental  com- 
position in  the  old  sonata  form.  (3)  An  in- 
dication of  lively,  rapid  movement. 

Canzonette  (Fr.)  {can-so-net),  Canzonetta 
(It),  Canzonet  (It.).     A  short  part  song. 

Caradori,  Allan  Maria  C.  R.  {ea-ra-do-ree). 
Soprano;   Italy.  '  B.  1800;   d.  1865. 

Carafa,  Michael  H.  F.  [cah-rah-fah).  Com- 
poser;  Italy.      B.  1785;   d.  1872. 

Carey,  Anna  Louise.  Contralto;  U.  S.  A. 
'^.  1846. 


Capella  (It.).  Church.  Alia  capella,  in 
church  style. 

Capellmeister  (Ger.)  {ka  -pel'  -  meis'  -  fer). 
Master  of  the  chapel ;  the  head  of  the  mu- 
sical establishment  of  a  noble  or  princely 
house. 

Capellmeister-Musik  (Ger.).  Music  made 
to  order  without  inspiration  is  so  called  in 
Germany. 

Capo  (It.).  Head;  beginning.  Da  capo, 
from  the  beginning. 

Capodastro  (It.).     Same  as  Capo  tasto. 

Capo  tasto  (It.).  Head  stop.  A  clamp 
which  is  screwed  on  the  finger-board  of  the 
guitar,  so  as  to  "  stop  "  all  the  strings,  thus 
raising  the  pitch  to  any  degree  desired. 

Capriccietto  (It.)  (ca-pree-chee-et' -to).  A  little 
caprice. 

Caprice  (Fr.)  [ca-prees'),  Capriccio  (It.)  [ca- 
prit'-chio').  A  whim;  freak;  composition 
without  form.      In  German,  Grille. 

Caricato  (It.)  [ca-ree.-ca'-to).  Overloaded  with 

display. 
Carillon   (Fr.)    (car-ee-yong).      (l)    A  set  of 

bells  played  by  hand  or  by  machinery.      (2) 

A  mi.\ture-stop  in  the  organ. 

Carilloneur  (Fr.)  {ca-ree-yo-tiure).  One  who 
plays  the  carillon. 

Carmagnole  (Fr. )  [car-rnaJt-yole).  A  wild 
song  and  dance  of  the  French  Revolution. 

Carol.  A  song  of  praise,  usually  sung  at 
Christmas  and  at  Easter. 

Carola  (It.).      See  Carmagnole. 

Carree''  (Fr. ).     A  breve. 

Carressant  (Fr. )  [ca-res-sa7cjnf),  Carrez- 
zando  (It.)  [car-retz-zan'-'do),  Carrezze- 
vole(It.)  [car-retz-zeh' -vo-leh).  In  a  caress- 
ing manner. 

Cassa  grande  (It.).     The  large  drum. 

Cassatio  (It.)  (cas-sa-shio).  A  suite;  cas- 
sation. 

Castanets,  from  castagna  (It.  castanya,  a 
chestnut),  Castagnette  (It.)  {cas-tatt-yet- 
teh),  Castanettes  (Fr. )  {eas -tan-yet),  Cas- 
tanuelas  (.Sp. )  (cas-tan-yu-eh-las).  Small 
wooden  clappers  used  to  mark  the  rhythm. 

Catch.  A  species  of  canon  so  contrived  that 
the  meaning  of  the  words  is  distorted. 

Catena  di  trilli  (It.)  [cat-feh-na  dee  trillee). 
A  chain  or  succession  of  trills. 

Catgut.  The  usual  name  for  gut-strings, 
made  in  reality  from  sheeps'  intestines. 

Carissimi,  Giacomo  (cah-ris-see-fnee).  Com- 
poser;   Italy.      B.  1582;   d.  1671. 

Carreno,  Theresa  (rar-r^/^«-j'c).  Pianist;  U. 
S.  A.     B.  1853. 

Catalani,  Angelica  {ealt  -  tali  -  lah  -  nee).  So- 
prano ;   Italy.     B.  1783;  d.  1849. 


CATLINGS 


24 


CHEST  OF  VIOLS 


Catlings.     The  smallest  lute  strings. 

Cattivo  tempo  (It.)  {cat-tee-vo).  The  weak 
beat ;   literally,  bad  beat. 

Cauda  (Lat.).     The  tail  or  stem  of  a  note. 

Cavalet'ta  (It.).     See  Cabaletta. 

Cavalet'to  (It.,  little  horse),  (i)  Small 
bridge.      (2)   The  break  in  the  voice. 

Cavatina  (It.)  [cah-vah-tee' -naJi).  A  short 
air ;  a  song  without  a  repetition  of  the  first 
member. 

C  Clef.     See  Clef. 

Cabell.  A  theme  consisting  of  alternate  pas- 
sages of  high  and  low  notes,  upon  whicli 
"divisions"  or  variations  were  played  on 
the  lute  or  viol. 

Q,&\QX^[\i.){cheh'-leh-reh).     Quick;  rapid. 

Celerita  (It.)  {che-leh' -ree-tah),  con.  With 
speed. 

Celeste  (Fr.).  Celestial.  The  soft  pedal  of 
the  piano. 

'Cello  (It.)  {chel-lo).  Abbreviation  of  violon- 
cello. 

Cembalo  (It.)  {cliem'-ba-Io).      Harpsichord; 

piano. 

Cembalist  (It.)  (chem-ha-Ust).     A  pianist. 
Cembanella  or  Cennamella  (It.).     A  flute 
or  flajjjeolet. 

Cercar  la  nota  (It.)  {rker-car  la  no-la).  To 
slur  or  slide  from  one  note  to  the  next.  Same 
as  Portamento. 

Ces  (Ger.)  {tsehs).     Cj?. 

Chacona  (Sp.)  {clia-co'-na),  Ciaconna  (It.) 
{ehea-eon'-na),  Chaconne  (P"r. )  [slia-con). 
A  slow  dance  in  \  time,  written  on  a 
ground  bass  of  eight  measures,  sometimes 
introduced  in  the  suite. 

Chair  Organ.     Choir  organ. 

Chalameau    [sliali-lali-mo)    or    Chalumeau 

(Fr. ).      See  Calamus. 

Chamber  Music.  Vocal  or  instrumental 
music  suitable  for  performance  in  small 
rooms.  Generally  applied  now  to  sonatas, 
trios,  quartets,  etc.,  for  instruments. 

Change  of  Voice,  (i)  Passing  from  one 
register  to  another.  (2)  The  change  from 
the  child's  to  the  adult's  voice  in  boys.  Gen- 
erally occurs  between  fourteen  and  seventeen 
years  of  age. 

Changes.  The  various  melodies  produced 
by  the  various  ways  in  which  a  chime  is 
rung. 

Change     Ringing.        The    art     of    ringing 

chimes. 
Changing    Chord.     A  chord   struck   with   a 

bass  that  is  not  a  member  of  the  chord. 

Chadwick,  Geo.  W.      Composer ;    U.  S.   A. 

B.  1S54. 


Changing  Notes  (nota  cambiata,  It.).  Dis- 
sonant notes  struck  on  the  beat  or  accent ; 
appoggiaturas. 

Chanson  (Fr.)  [shan-song).  A  song,  a  part 
song :  formerly  a  part  song  resembling  a 
madrigal. 

Chansonnette  (Fr.)  [shan-son-net).  A  little 
song. 

Chant.  A  form  of  composition  in  which  re- 
citing notes  alternate  with  phrases  sung  in 
time.  There  are  two  forms  of  chant,  Angli- 
can and  Gregorian.  The  Anglican  chant 
may  be  single,  /.  e.,  with  the  reciting  notes 
and  two  inflections  (phrases  in  time)  or 
double,  that  is,  the  length  of  two  single 
chants.  The  Gregorian  chant  consists  of :  (l) 
The  intonation.  (2)  The  dominant  or  reciting 
note.  (3)  The  mediation  (analogous  to  the 
inflection,  but  not  in  strict  time).  (4)  The 
dominant  again.  (5)  Ending  or  cadence. 
The  chant  was  undoubtedly  first  sung  to 
metrical  words,  therefore  was  as  rhythmic  as 
a  modern  melody.  This  rhythmic  character 
has  been  lost  by  adapting  prose  words  to  it. 

Chant  (Fr.)  [shawnt).    Song;  melody;  tune; 

vocal  part. 
Chantant     (Fr.)     {shong-  taivnt).      Singing. 

Cafe    chantant,  a    cafe   where  singing  is 

part  of  the  entertainment. 
Chanter.      (i)    A  singing   priest.      (2)  The 

melody  pipe  of  the  bagpipe. 

Chanterelle  (Fr. )  [shong-ta-7-ell).  The  high- 
est string  of  the  violin,  viola,  and  violon- 
cello ;  also  of  the  guitar  and  lute. 

Chanteur  (Fr.)  [skong-  lure).  A  singer 
(male). 

Chanteuse  (Fr.)  [shong  -  toose).  A  singer 
(female). 

Chant  pastoral  (Fr.).      Shepherd's  song. 

Characters.  The  signs  used  in  written 
music. 

Characterstimme  (Ger.).  Lit.,  character 
voice  ;  any  solo-stop  on  the  organ. 

Characterstiicke  (Ger.)  {ka-rak' -ter-stee-ke^. 
Character  pieces ;  descriptive  music,  as  the 
pastoral  symphony. 

Chasse,  a  la  (Fr.)  (a  la  shass).  In  the  hunt- 
ing style. 

Chef  d'attaque  (Fr.)  {slief^  d'at-tak).  The 
chorus  leader,  or  leading  instrument  of  any 
division  of  the  orchestra. 

Chef  d'oeuvre  (Fr. )  [s/ief  d'oovr).  Master- 
work. 

Chef  d'orchestre  (Fr.)  {s/ief  d'or-kestr). 
Conductor  of  the  orchestra  ;   leader. 

Chest  of  Viols.  A  "  chest"  containing  two 
trebles,  two  tenors,  and  two  baSses.  Called 
also  "  consort  of  viols." 

Chaminade,  Mile.  C.  [s/iali-vier-nad).  Pian- 
ist, composer  ;   France.      B.  i860. 


CHEST  TONE 


25 


CIRCULAR  CANON 


Chest  Tone.       The    lowest    register  of   the 

voice — male  or  female. 
Chevalet    (P>.)    [she  -va-  leh).     Bridge    of 

string  instruments. 

Chiara  (It.)  {ke-ah-rah).     Clear,  pure. 
Chiaramente  (It.)    (ke  -  ah  -  rah  -  vien'  -  teh). 

Clearly,  distinctly. 
Chiarezza  (It.)   {ke-ah-ret'-za),  con.     With 

clearness. 
Chiarina  (It.)  [/ce-ah-ree'-na).     Clarion. 
Chiave  (It.)  {ke-ah'-veh).     Key  or  clef. 
Chica  (Sp.)  [chee-ka).     Old  Spanish  dance. 

The  original  of  Giga,  Jigue,  and  Jig. 
Chi^sSi  (\i.)  [ke-eh^-sa).    Church.    Concerto 

da  chiesa,  a  church  concert.'     Sonata  da 

chiesa,  a  church  sonata. 

Chime.  A  set  of  bells,  generally  five  to  ten. 
To  chime ;  to  play  a  set  of  bells  by  striking 
them  with  hammers  or  by  swinging  their 
clappers.  Chime  Ringing  is  to  swing  the 
bells  themselves. 

Chirogymnast,  Chiroplast.  Obsolete  ma- 
chines for  strengthening  the  fingers  of  pian- 
ists and  keeping  them  in  position. 

Chitarra  (It.)  (kit-tah^-rah').     Guitar. 

Choeur(Fr. )  [koor).     Chorus,  choir. 

Choir.  (l)  A  company  of  church  singers. 
(2)  The  part  of  the  church  appropriated  to 
the  singers.  In  English  churches  (Anglican) 
the  choir  is  divided  into  two  parts,  called 
the  decani,  or  choir  on  the  dean's  side,  and 
can  tori,  or  choir  on  the  cantor's  side. 
When  chanting,  they  generally  sing  anti- 
phonally,  joiningin  the  "gloria."  In  anthems 
the  words  decani  and  cantoris  are  printed  to 
indicate  which  side  is  to  sing  a  given  part. 

Choir  Organ.  One  of  the  divisions  of  the 
organ,  the  manual  for  which  is  generally 
the  lowest.  Was  originally  called  chair 
organ  ;  called  in  France  prestant. 

Chor  (Ger.)  {kore).  Chorus,  choir;  a  num- 
ber of  instruments  of  the  same  kind. 

Choragus  (Gk.).  (i)  Leader  of  a  chorus. 
(2)  A  musical  official  at  Oxford  College, 
England. 

Choral,  (i)  For  a  chorus.  (2)  An  old  form 
of  psalm-tune. 

Choral  Service.  A  service  of  which  singing 
is  the  most  prominent  part. 

Chord,  Akkord  (Ger.),  Accord  (Fr.),  Ac- 
cord (It.).    A  combination  of  three  or  more 

Chappell,   W^m.     Historian ;    England.      B. 

iSoq;   d.  1888. 
Cherubini,   Maria   Luigi   C.    S.    [keh-roo-bee- 

nee).     Composer  and   theorist  ;   Italy.      B. 

1760;  d.  1842. 

Cheve,  Emile  J.  M.  {sheh-veh).  Inventor  of 
sim]:)lified  system  of  music ;  France.  B. 
1804;  d.  1864. 


sounds — common  or  perfect  chord,  or  triad. 
Consists  of  any  sound  with  its  third  and' 
fifth  ;  it  is  called  major  when  the  interval 
from  one  (or  root)  to  three  contains  two 
whole  tones  ;  minor,  when  it  contains  a  tone 
and  a  half;  diminished,  if  there  are  three 
whole  tones  from  one  to  five ;  augmented,  if 
there  are  four  whole  tones  from  one  to  five. 
A  chord  is  inverted  when  its  root  is  not  at 
the  bass ;  chords  with  more  than  three 
letters  are  dissonant  chords,  called  chords 
of  the  seventh  if  they  contain  four  letters, 
chords  of  ninth  if  they  contain  five  letters, 
etc.,  etc.  Chords  bear  the  name  of  the 
degree  of  the  scale  upon  which  they  are 
written  :  First,  tonic  ;  second,  supertonic  ; 
third,  mediant;  fourth,  subdominant ; 
fifth,  dominant ;  sixth,  submediant ;  sev- 
enth, leading  note  or  diminished  chord. 

Chorister.  A  chorus-  or  choir-singer;  a 
precentor. 

Chorus.  (i)  A  company  of  singers.  (2) 
The  refrain  of  a  song.  {3)  A  composition 
for  a  company  of  singers.  (4)  The  mixture- 
stops  in  an  organ. 

Chromatic,  Chromatisch  (Ger.),  Chroma- 
tique  (Fr.),  Cromatico  (It.),  (i)  Sounds 
foreign  to  the  key.  (2)  A  scale,  consist- 
ing of  half-tones.  Chromatic  chord,  one 
including  foreign  sounds.  Foreign  to  the 
key ;  chromatic  interval,  one  not  found  in 
the  major  scale;  chromatic  half-tone,  chang- 
ing the  pitch  without  changing  the  letter,  as 
C,  C#. 

Church  Modes.  The  scales  derived  from 
the  Greek,  in  which  Gregorian  music  or 
plain  songs  are  written. 

Cimbal.     A  dulcimer  ;  harpsichord. 

Cimbali  (It.)  {cliim-ba-lee).      Cymbals. 

Cimbalo  (It.)  [chivi'-ba-lo).  See  Cembalo. 
Also  a  tambourine. 

Cimbel  (Ger.)  [tsiin-bel).  A  mixture-stop 
in  the  organ. 

Cink  (Ger.)  [tsink).  Cinq  (Fr.)  [satik).  A 
small  reed-stop  in  the  organ. 

Cinque  pace  (Fr.)  (sank  pace).  An  old 
French  dance.  In  old  English,  sink  a 
pace. 

Circular  Canon.  One  which  ends  a  half-tone 
higher  than  it  begins,  consequently  will,  if 
repeated  often  enough,  go  through  all  the 
keys. 

Chickering,  Jonas.      Piano  maker ;   U.  S.  A. 

B.  1798;  d.  1853. 
Chopin,  Frederick  F.  [sho-pang).     Composer 

and  pianist ;   Poland.      B.  1809;  d.  1849. 
Chorley,    Henry  F.      Critic ;  England.      B. 

1808;  d.  1872. 
Chwatal,  Franz  X.  [shvah' -tal).    Composer; 

Bohemia.      B.  1808;   d.  1879. 


CIRCULUS 


26 


CLOSE  HARMONY 


Circulus  (Lat.).  A  circle;  the  old  sign  for 
what  was  called  perfect  time,  three  beats  in 
the  measure  ;  for  imperfect  time,  two  beats 
in  the  measure,  the  circle  was  broken  in 
half,  thus,  C.  It  is  from  this  the  sign  for  com- 
mon time  is  derived ;  it  is  not  as  is  generally 
supposed  the  letter  C. 

Cis  (Ger.)  [fsi's).     C  sharp. 

Cithara  (Gk.).     An  ancient  lute. 

Citoli.     Old  name  for  the  dulcimer. 

Civetteria  (It.)  {chee-vet-tee'- rea),  con. 
With  coquetry. 

Clairon  (Fr.).     Clarion. 

Clangtint.  A  term  introduced  by  Tyndal  to 
designate  the  quality  of  sounds  (translation 
of  Ger.  Klangfarbe)  ;  means  much  the  same 
thing  as  the  French  word  timbre. 

Claque  bois  (Fr. )  {clack  bod).  The  xylo- 
phone ;  in  German,  Strohtiedel ;  straw  fiddle. 
Italian,  Organo  di  legno.  Graduated  strips 
of  hard  wood  laid  on  supports  made  of  straw, 
played  by  striking  with  small  hammers  held 
in  the  hands. 

Clarabella.      An  eight-foot  soft  organ-stop. 

Clarabel  Flute.  The  same  stop  when  of 
four- foot  tone. 

Clarichord.  An  old  variety  of  the  harpsichord. 

Clarinet  or  Clarionet  (a  little  clarion).  A 
wind  instrument  with  a  beating  reed,  in- 
vented in  1654  by  Denner.  The  compass 
of  the  clarinet  is  from  E  third  space  bass  to 
the  second  C  above  the  treble  (the  highest 
octave  is  rarely  used).  Clarinets  are  made 
in  several  keys ;  those  used  in  the  orchestra 
are  in  C,  B?  and  A  ;  the  Bb  clarinet  sounds 
a  whole  tone  lower  than  the  written  notes, 
the  A  clarinet  a  minor  third  lower ;  alto  and 
bass  clarinets  are  also  used,  the  former  in 
F  and  Eb,  the  latter  an  octave  below  the 
ordinary  clarinet.  The  clarinet  has  four 
well-marked  registers:  the  first,  or  chalu- 
nieau,  extends  from  the  lowest  note  to 
the  octave  above  ;  second  to  Bt>  in  treble 
staff;  third  to  C  above  treble  staff;  fourth 
the  rest  of  the  compass. 

Clarinetto  (It.),  Klarinette  (Ger.),  Clari- 
nette  (Fr.).     The  clarinet. 

Clarino  (It.)  {cla/i-ree-no).  Clarion  or  trum- 
pet ;   an  organ-stop;   four-foot  reed. 

Claviatur  or  Klaviatur  (Ger.)  {kla-fee-a- 
toor'Y      Keyboard. 

Clavicembalo  (It.)  [cIa-7'ee-cJiejn'-ba-lo). 
keyed  dulcimer  ;   the  harpsichord. 

Clavichord.  An  instrument  resembling  a 
square  piano.  The  strings  were  vibrated  by 
forcing  wedge-shaped  pieces  of  brass  called 
tangents  against  them.      By  depressing  the 

Cimarosa,  Dominico  {chee-viah-ro-sah').  Com- 
poser ;   Italy.      B.  1749;   d.  1801. 

Clapisson,  Antonie  L.  [clah-pee-song).  Com- 
poser and  pianist ;    Italy.    B.  1808;  d.  1866. 


keys,  the  tangent  acted  both  as  a  means  of 
vibrating  the  string  and  as  a  bridge.  When 
the  finger  was  raised,  the  string  was  damped 
by  a  piece  of  woolen  cloth  wrapped  round  it, 
between  the  tangent  and  the  pin-block.  The 
chief  interest  in  this  obsolete  instrument  is 
the  fact  that  it  was  tb  i  favorite  of  J.  S.  Bach. 
Clavi9on  (Fr.)  (cla-vee-soong)  [from  Lat. 
clavis,  a  key].     The  harpsichord. 

Clavicytherium.     A  variety  of  harpsichord. 

Clavier  or  Klavier  (Ger.)  {klah-feer').  (i) 
Keyboard.  (2)  Used  as  a  name  for  the  piano- 
forte. 

Clavier  (Fr. )  [klah-vee  -  eh).  An  organ 
manual. 

Clavierauszug  (Ger.)  [k/ak-feer-ows-tsoog). 
A  pianoforte  score  or  edition. 

Clef  [from  Lat.  clavis,  a  key].  A  sign  placed 
on  the  staff  to  indicate  the  names  and  pitch 
of  the  sounds.  Three  clefs  are  used  in 
modern  music:    (i)    The  treble  or  G  clef, 

EK     also   called  violin   clef;    this  is   now 


always  placed  on  the  second  line.  (2)  The 
Cclef:— 

H  _  .  . 

this  clef,  when  on  first  line,  is  called  soprano 
clef;  on  second  line,  mezzo-soprano  clef; 
on  third  line,  alto  clef,  also  viola  or  alto 
trombone  clef;  on  fourth  line,  tenor  clef; 
used  also  for  upper  notes  of  violoncello  and 
bassoon.  The  C  clef  always  signifies  middle 
C ;  that  is,  C  that  lies  between  the  fifth  line 
bass  staff  and  first  line  treble  staff.     Bass  or 

F  clef,  Ol  placed  on  the  fourth  line,  oc- 
casionally on  the  third,  when  it  is  called  the 
baritone  clef;  used  for  bass  voices  and  all 
bass  instruments. 

Cloche  (Fr.)  {closh).     A  bell. 

Clochette  (Fr.)  {closhet').     A  small  bell. 

Close  Harmony.  When  the  sounds  forming 
the  chords  are  drawn  together  as  much  as 
possible. 


-tSl 


122: 


I  2 

No.   I,  close  harmony;    No.    2,   open  har- 
mony. 

Clarke,  Hugh    A.      Theorist   and  composer; 

Canada.      B.  1839. 
Clay,   Frederick.     Composer;    England.     B. 

1840;  d.  1889. 


CODA 


27 


CONCITATO 


-Joda  (It.).  "Tail."  A  passage  added  after 
the  development  of  a  fugue  is  finished,  or 
after  the  "  form  "  of  a  sonata,  rondo,  or  any 
other  composition  has  been  completed,  to 
produce  a  more  satisfactory  close. 

Codetta  (It.).      A  short  coda. 

Cogli  stromenti  (It.)  {^col-yee  sti-o-rnen' -tee). 
With  the  instruments. 

Coi  {coee),  Col,  Coll',   Colla,   CoUe,  Collo 

(It.).     With  the. 

Col  arco.  With  the  bow.  Used  after  the 
direction  "pizzicato." 

Col  basso.     With  the  bass. 

Col  canto.     W.'th  the  melody. 

Col  legno  (It.)  {col-latie-yo).  With  the 
wood ;  a  direction  to  strike  the  strings  of 
the  violin  with  the  back  of  the  bow. 

Colla  parte.     With  the  principal  part. 

Colla  voce.  With  the  voice.  In  score  writ- 
ing, to  save  the  labor  of  re-writing  a  part 
which  is  to  be  played  by  two  or  more  in- 
struments. It  is  usual  to  write  the  part  for 
one  instrument,  for  instance,  the  violin,  and 
write  the  words  col  violino  on  the  staff  ap- 
propriated to  the  other  instrument. 

Colophony.     Rosin. 

Colorato  (It.)  [co-lo-rah'-to).     Florid. 

Coloratura  (It.)  {co-!o-rah-too'-rah).  Florid 
passages  in  vocalization. 

Come  (It.)  (coh-me/i).      As;   like. 
Come  prima  (It.)  (coh'-meh pree'-maJi).     As 
at  first. 

Comes  (Lat.)  [comes).  The  answer  to  the 
subject,  dux  of  a  fugue.    Dux  means  leader ; 

conies,  follower. 

Comma.  The  difference  between  a  major 
and  a  minor  tone. 

Commodamen''te,      Commodefta 

Ouietly  ;   leisurely  ;   without  hurry. 

Commodo  (It.)  [com-iiio'-do).  At  a  con- 
venient rate  of  motion. 

Common  Chord.  The  combination  of  any 
sound  (called  the  root)  with  its  major  or 
minor  3d  and  perfect  5th. 

Common  Metre,  or  Ballad  Metre.  A 
stanza,  consisting  of  alternate  lines  of  four 
and  three  iambuses  ;   as. 


How  blest  is  he  who  ne'er  consents 

By  ill  advice  to  walk. 

Common  Time.  Two  beats,  or  any  multiple 
of  two  beats,  in  the  measure.  The  signs  |, 
C,  (I),  4  (^,  ?,  s  rare)  indicate  simple  com- 

C'ementi,  Muzio  (cleh-iuen-fee,  mootsio). 
Composer  and  pianist ;  Italy.  E.  1752;  d. 
1832. 


(It.). 


mon  time;  |,  |,  "^^ ,  indicate  compound 
common  time,  \  being  compounded  from 
two  measures  of  |;  ^  from  two  measures  uf 
•|;  and  y  from  four  measures  of  \  time. 

Compass.  The  complete  series  of  sounds 
that  may  be  produced  by  a  voice  or  instru- 
ment. 

Compiacevole  (It.)  {co)7i-pea-cheh' -vo-leh). 
Agreeable  ;   pleasing  ;   charming. 

Complement.  The  interval  which  being 
added  to  another,  will  make  an  octave.  A 
complementary  interval  is  found  by  inverting 
any  given  interval  that  is  less  than  an 
octave. 

Composer,  Componista  (It.),  Componist 
or  Komponist  (Ger. ).  One  who  composes 
music. 

Composition.  The  sounds  that  make  up  the 
series  of  a  mixture-  or  other  compound  or- 
gan-stop. 

Composition  Pedal  or  Knob.  A  mechanism 
worked  by  the  foot  or  by  pressing  a  button 
with  the  finger,  which  throws  on  or  off  cer- 
tain combinations  of  stops  in  the  organ. 

Compound  Intervals.    Intervals  greater  than 

the  octave. 

Compound  Times.  Those  formed  by  adding 
together  several  measures  of  simple  time. 
4>  8'  V'  V  ^•'^  compound  common,  having 
an  even  number  of  beats ;  \,\  are  compound 
triple,  having  an  odd  number  of  beats. 

Con  (It.).     With. 

Concert.  Any  musical  performance  other 
than  dramatic. 

Concertante     (It.)     (con-cher-tan'  -teh).       A 

composition  in  which  two  or  more  parts  are 

of  equal  importance. 
Concerted  Music.     Music  for  several  voices 

or  instruments,  or  for  voices  and  instruments 

combined. 

Concertina.  A  small  free-reed  instrument 
somewhat  like  the  accordion,  but  far  su- 
perior. 

Concertmeister  (Ger.).  Concert  master; 
the  leader  or  conductor  of  the  orchestra. 

Concerto  (It.)  {con-cher'-to),  Conzert  (Ger.), 
Concert  (Fr. )  {con-sehr).  A  composition 
designed  to  display  the  capabilities  of  one 
instrument  accompanied  by  others. 

Concert  spirituel  (Fr.)  [con-sehr  spiri-too-el). 
An  association  in  Paris  for  t!ie  performance 
of  sacred  music,  vocal  and  instrumental, 
founded  1725. 

Concertstiick  (Ger.)  [steek).     Concert  piece; 

concerto. 
Concitato  (It.)  [con-chee-tah'-to).      Agitated. 

Concone,  Giuseppe  U-oii-co-neh ,  jeif-sep-peh). 
Teacher  and  composer;  Italy.  V>.  iSio; 
d.  1861. 


CONCORD 


28 


COUCHED  HARP 


Concord.  Agreeing.  Literally,  chording 
with. 

Concordant,  (i)  Agreeing  with.  (2,  Fr. ) 
The  baritone  voice. 

Conductor.  The  director  or  leader  of  a 
chorus  or  orchestra. 

Cone  Gamba.  An  organ-stop  with  bell- 
shaped  top. 

Conjunct  (Lat. ,  con-junclus).  Joined  to- 
gether.     Adjacent  sounds  in  the  scale. 

Conjunct  Motion.     Moving  by  steps. 

Consecutive.  Two  or  more  of  the  same  in- 
tervals in  succession. 

Consecutive  Fifths.  Two  voices  or  parts 
m'oving  together  a  fifth  apart. 

Consecutive  Octaves.  Two  voices  or  parts 
moving  together  an  octave  apart.  Consecu- 
tive fifths  and  octaves  are  forbidden  by  the 
laws  of  composition,  but  the  prohibition  is 
frequently  disregarded  by  the  best  writers. 

Consequent.     The  answer  to  a  fugue  subject ; 

comes. 

Consolante  (It.)  {con-so-lan' -tehy    Soothing. 

Consonance.  Literally,  sounding  together. 
Those  intervals  that  enter  into  the  compo- 
sition of  the  common  chord  and  its  inver- 
sions, viz.,  major  and  minor  3d  and  6th, 
perfect  4th  and  5th,  and  dctave.  The  major 
and  minor  3d  and  6th  are  called  imperfect 
consonances,  being  equally  consonant 
whether  major  or  minor.  The  perfect  4th, 
5th,  and  Sth  are  called  perfect  because  any 
alteration  of  them  produces  a  dissonance ; 
i.  e.,  an  interval  that  requires  resolution. 
N.  B. — This  definition  of  consonance  ap- 
plies only  to  the  modern  tempered  scale. 

Con  sordini  (It.)  (sor-dee'-nee).  With  the 
mute,  (i)  In  piano  music,  with  soft  pedal. 
(2)  Instruments  of  the  violin  family  :  a  di- 
rection to  fasten  on  the  bridge  a  small  im- 
plement of  wood  or  metal  which  has  the 
effect  of  deadening  the  tone.  (3)  Brass 
instruments :  a  direction  to  place  a  cone- 
shaped  piece  of  wood  covered  with  leather 
in  the  bell,  which  has  the  same  effect. 

Consort.     A  chest  of  viols. 

Contra  (It.).  Against;  in  compound  words, 
means  an  octave  below,  as  contra-bass, 
contra-fagotto. 

Contra  danza  (It.).     Country  dance. 

Contralto  (It.).  The  lowest  female  voice, 
usually  called  alto. 

Contraposaune.  A  16  or  32-foot  reed-organ 
stop. 

Converse,  C.  C.  Composer;  U.  S.  A.  B. 
1832. 

Corelli,  Arcangelo  [cor-rel-lee).  Violinist; 
Italy.      B.  1653;  d.  1713. 


Contrapuntal.     Belonging  to  counterpoint. 

Contrapuntist.  One  skilled  in  counterpoint, 
or  who  writes  on  the  subject  of  counterpoint. 

Contratenor.     The  highest  male  voice. 

Contra  violone  (It.)  [vee-o-lo^-7ieh),  Contra 
basse  (Fr.).     Double  bass. 

Countertenor.    The  developed  falsetto.    See 

Alto. 

Convict  of  Music.  An  institution  for  musi- 
cal instruction.  [Lat.,  convicttts,  an  asso- 
ciate, from  convivere^  to  live  together.] 

Cor  (Fr.).     A  horn. 

Cor  Anglais  [ong-la\^.  English  horn ;  3 
variety  of  the  hautboy,  sounding  a  fifth 
lower. 

Corale  (It.)  {co-rah'-lih).      A  choral. 

Coranto  (It.),  Courante  (Fr.).  An  old  dance 
in  triple  time,  used  as  a  movement  in  the 
suite. 

Corda  (It.).  String.  Una  corda,  Due 
corde,  Tre  corde  or  Tutte  corde,  one 
string,  two  struigs,  three  strings,  all  the 
strings,  are  directions  for  the  use  of  the 
pedal  in  Grand  J>.  f.  that  shifts  the  action  so 
as  to  strike  one,  two,  or  all  of  the  strings 
allotted  to  each  key. 

Cornamusa  (It.)  {co7-/!a-moo-.m),  Corne- 
muse   (Fr. )  {^cor7i-vioos).     Bagpipe. 

Cornet,  Cornetto  (It.),  Zinke  (Ger.).  (i) 
Originally  a  coarse-toned  instrument  of  thfl 
hautboy  family.  (2)  A  compound  stop  in 
the  organ.  (5)  Cornet-a-piston,  a  biass 
instrument  of  the  trumpet  family.  (4)  Echo 
cornet,  a  compound  organ-stop  with  small 
scale  pipes,  usually  in  the  swell. 

Corno  (It.).  Horn;  the  P'rench  horn,  or 
Waldhorn  (Ger.).  The  horn  of  the  or- 
chestra. 

Corno  alto.  High  horn.  Corno  basso, 
low  horn. 

Corno  di  basetto.     Basset  horn. 
Corno  di  caccia.      Hunting  horn. 
Corno  Inglese.     Cor  Anglais. 
Cornopean.     Same  as  Coriiei  (brass) ;  a  reed- 
stop  on  the  organ,  S-foot  tone. 

Coro  (It.).     Chorus. 

Corona  (It.).    "  Crown  ;  "  a  pause. 

Corrente  (It.)   i^cor-ren'-teJi).     Coranto. 

Cottillion  (Fr.,  Cottillon,  co-tee-yon').  A 
dance  with  numerous  figures,  originally  rather 
lively,  now  much  the  same  as  tiie  Quad- 
rille. 

Couched  Harp.       The  spinet. 

Corri,  Domenico  (<;77r-;Yf).  Composer;  Italy. 
B.  1746;  d.  1825. 

Costa,  Sir  Michael.  Composer  and  conduc- 
tor;   Italy.      B.  1810;  d.  1884. 


COUNT 


29 


CZIMKEN 


Count.  The  beats  in  the  measure  are 
called  counts,  from  the  practice  of  counting 
the  time. 

Counterpoint  [from  Latin  contia-punctus, 
against  the  point].  Notes  were  originally 
called  points,  hence  when  another  set  of 
points  were  added  above  or  below  the 
points  of  the  theme,  they  were  called 
counterpoints.  In  modern  use  counter- 
point may  be  defined  as  the  art  of  making 
two  or  more  parts  move  together  with  such 
freedom  that  they  seem  to  be  independent, 
each  one  with  a  design  of  its  own. 

Counter-subject.  A  theme  employed  in 
conjunction  with  the  principal  theme  in  a 
fugue. 

Coup  d'archet  (Fr.)  {coo  d\i7--shay).  A 
stroke  of  the  bow. 

Coupler.  A  mechanism  in  the  organ,  by 
means  of  which  the  keys  of  two  manuals  are 
joined  so  that  the  depression  of  the  keys  of 
one  causes  the  depression  of  the  correspond- 
ing keys  of  the  other.  Pedal  Coupler  joins 
pedal  keys  to  one  of  the  manuals.  Octave 
Coupler  causes  the  octave  above  or  below 
each  key  struck  to  sound  either  on  the  same 
or  on  another  manual. 

Couplet  (Fr.)  [coo-play).      Stanza;    ballad. 

Couplet  (Eng. ).  A  pair  of  rhvming  lines. 
Two  notes  played  in  the  time  of  three  of  the 
same  denomination. 

Cracovienne  (Fr. ).     Polacca. 

Cremona.  ( i )  A  town  in  Italy  celebrated  for 
its  violin  makers.  (2)  A  violin  made  in 
Cremona.  (3)  A  soft  S  ft.  reed  organ  stop 
(corrupted  from  Kn/i/n/i/ioru). 

Couperin,  Armand  Louis.  Organist.  B. 
1600;   d.  1665. 

Couperin,  Frangois  [koo-peh-raug).  Called 
le  Grand.  Composer  and  improver  of  sys- 
tem of  fingering;  France.  B.  1668;  d. 
1733- 

Cowen,  Frederick  H.  Composer ;  England. 
B. 1852. 

Cramer,  John  Baptist  {crah-vie7-).  Pianist 
and  composer;  Germany.  B.  1771;  d. 
1858. 

Crescentini,  Girolamo  {creshen-tee'-nee).  So- 
pranist  and  composer ;  Italy.  B.  1766;  d. 
1846. 

Cristofori,  Bartolomeo  di  F.  {c?-is-to-fo-ree). 
Inventor  of  the  piano;  Italy.  B.  1651  ;  d. 
1731- 


Crescendo  (It.)  (cray-slien-do').  Abbrevia- 
tion, crcs.,  sign  :  — — •  ~  to  increase 
in  loudness  [from  It.  crescere,  to  increase]. 

Crescendozug  (Ger. ,  hybrid  of  It.  and  Ger. ). 
The  swell  box  of  the  organ. 

Croche  (Fr. )  (crosli).      An  eighth-note. 

Crotchet.      A  quarter-note. 

Crowd,  Crouth,  Crood,  Crooth.  An  an- 
cient string  instrument  played  with  a  bow. 
Of  Celtic  origin. 

Crush  Note.     Appoggiatura. 

Cue.    The  last  notes  of  one  voice  or  instrument, 

written   in  the  part  of  another  as  a  guide  to 

come  in. 

Cuivre  (Fr. ).  Brass.  Faire  cuivrer  {fare 
koo-e-vreh),  a  direction  to  produce  a 
rattling  metallic  note  on  the  horn  by  insert- 
ing the  hand  partway  in  the  bell. 

Cuvette  (Fr.)  {koo-vet').  The  pedal  of  a 
harp. 

Cyclical  Forms.  Forms  of  composition  in 
which  one  or  more  themes  return  in  pre- 
scribed order,  as  sonata,  rondo,  etc. 

Cymbals  {Bee ken,  Ger.,  Piatti,  It.),  (i) 
Discs  of  metal  clashed  together  or  struck 
with  drumsticks,  used  in  the  orchestra  and 
in  military  music.  (2)  A  shrill  compound 
stop  in  the  organ. 

Czakan  {cha-kan).     A  cane  flute. 

Czardas   (ckar-dcis/i).      A  Hungarian  dance 

with  sudden  alterations  of  tempo. 
Czimbel  {chiin-bel').    A  dulcimer  strung  with 

wire    strings ;      a    national    instrument    in 

Hungary. 

Czimken  {chifn-keti).     A  Polish  dance. 

Crivelli,  Domenico  {cree-vel-lee).    Teacher  of 

singing;    Italy.     B.  1794;   d.  1856. 
Cross,  Michael  H.      Composer,  organist  ;   U. 


S.  A.      B.   18 


jj- 


Crouch,  Frederick  N.  Ballad  writer;  Eng- 
land.    B.  1808;  d.  1896. 

Cui  {coo-ee'),  Cesar  A.  Pianist;  Poland.  B. 
1835- 

Curschmann,  Karl  F.  (koorsch-man') .  Com- 
poser ;    Germany.      B.  1805  ;  d.  1841. 

Curwen,  Rev.  John.  Inventor  of  Curwen's 
system;    England.     B.  1816;  d.  1880. 

Cusins,  Sir  Wm.  G.     Pianist,  composer.     B. 

1833;  d.  1893. 
Cuzzoni,    Francesca    {coo(zo-nee).     Soprano; 

Italy.      B.  1700;   d.  1770. 

Czerny,  Karl  {chtir-neh).  Composer  and  pi- 
anist;  Austria.     B.  1791  ;  d.  1857. 


D 


30 


DEMI-BATON 


D 


D.  Second  letter  in  the  natural  scale;  the 
third  string  of  the  violin  ;  second  string  of 
viola  and  'cello ;  abbreviation  of  Da  or  Dal ; 
from  D.  C,  da  capo,  D.  S.,  dal  segno. 

Da  (It.).      From. 

Da  ballo  (It.).      In  dance  style. 

Da  camera  (It.).     Chamber  music. 

Da  capo  (It.).  From  the  beginning;  ab- 
breviated L).  C. 

Da  capo  al  fine.  From  the  beginning  to  the 
word  fine  {/ee-uch),  the  end,  or  a  double 
bar  with  /r\  over  it. 

Da  capo  al  segno  (It.)  {se/m-yo).  From 
beginning  to  the  sign     ^ 

D.  C.  al  '^  e  poi  la  coda.  From  the  begin- 
ning to  the  sign,  then  the  coda. 

D.  C.  senza  replica  (It.)  [se/iii/za  reJt'-plee- 
lali).  From  the  beginning  without  repeat- 
ing the  parts. 

D.  C.  senza  repetitione  {reh-peh-tee-shee- 
o-Hi'/i)  means  the  same  as  above. 

Da  capella  (It.).      Church  music. 

Daina  or  Dainos.     A  Lithuanian  love-song. 

Damper.  A  mechanism  in  the  piano  to  stop 
the  vibration  of  the  strings  when  the  finger 
is  raised  from  the  key. 

Damper  Pedal.  The  miscalled  loud  pedal, 
a  mechanism  controlled  by  the  foot  for 
raising  all  the  dampers  at  once  from  the 
strings. 

Danse.  A  piece  of  music  meant  to  accom- 
jiany  rhythmical  movements  of  the  body. 

Darabookka.     An  Arabian  drum. 

Dash,  (i)  A  line  drawn  through  a  figure 
(^)  in  figured  bass  signifies  the  note  must  be 
raised  chromatically.  (2)  A  short  stroke 
over  a  note,  signifying  it  is  to  be  played 
staccato. 

Daumen  (Ger.)  {dota ->iien).      The  thumb. 

D  dur  (Ger.).     D  major. 

Debut  (Fr.)  [ch'/i-lwo).     A  first  appearance. 

Dalayrac,  Nicolas  (dah-leh-)-ak).  France. 
1;.  1753;  d.  1809. 

D'Albert,  Ch.  L.  N.  Writer  of  band  music; 
Germany.      B.    1809;    d.  1886  in  London. 

D'Albert,  Eugene,  his  son.  Pianist;  Scot- 
land.     B.  1864. 

Damoreau,  Laura  C.  M.  [dah-mo-ro) ,  known 
as  Cinti  Damoreau  {chin-tec).  Singer. 
B.  1801  ;  d.  1863. 

Damrosch,  Leopold.     Violinist;  Posen.     B. 

1S32;  d.  1885. 

Damrosch,  Walter,  his  son.  Composer, 
conductor;    Germany.     B.  1862. 

Damrosch,  Frank.  Conductor,  educator; 
Germany.       1!.    I  "^59. 


Decani  (Lat.).  (i)  The  dean's  side  in  a 
cathedral.  (2)  That  part  of  a  choir  that 
occupies  the  dean's  side. 

Deceptive  Cadence.  One  in  which  the 
dominant  chord  is  not  followed  by  the  tonic. 

Decima  (Lat.).  An  organ-stop  pitched  an 
octave  above  the  tierce. 

Deciso  (It.)  [clch-chee'-so).  Decided;  ener- 
getically. 

Declamando  (It.)  (deh-cla-7nan'-do).  In  de- 
clamatory style. 

Declamation.  The  correct  enunciation  of 
the  words  in  singing,  and  their  rhetorical 
accent. 

Decres.  Abbreviation  of  Decrescendo  (It.) 
{deh-creh-slien' -do).  To  decrease  in  volume 
of  sound.      Sign  :     j^^UlI^^— — ^ 

Decuplet.  A  group  of  ten  notes  played  in 
the  time  of  eight  of  the  same  denomina- 
tion. 

Defective.  The  diminished  5th  is  sometimes 
so  called. 

Degree.  From  one  letter  to  the  ne.xt,  a  de- 
gree may  be  a  half-tone,  minor  second ; 
whole  tone,  major  second  ;  tone  and  a  half, 
augmented  second. 

Del,  Delia,  Delli,  Dello  (It.).     Of  the. 

Deliberatamente  (It ).     Deliberately. 

Deliberato  (It.)  [deh-lee-heh-rali' -to),  con. 
With  deliberation. 

Delicatamente  (It.).     Delicately;  gently. 

Delicatezza  (It.)  (deh-Iee-cah-tetza),  con. 
With  delicacy. 

Delicatissimo   (It.).     Exceedingly  delicate. 

Delicato  (It.)  {deh-lce-cah-to).     Delicate. 

Delie  (Fr.)  (deh-lee-d).  The  reverse  of  le- 
gato.     Literally,  not  tied. 

Yi€\.v:\o  [\\..)[deh-lee-reeo),zovi.    With  frenzy. 

Demi-baton  {Yr.){deh-i7iee-bah-tong).  A  rest 
of  two  measures. 

Dancla,   Jean    Ch.       Violinist;    France.      B. 

1818;   d.  1895. 
David,  Felicien  C.    [da/i-vccd).     Composer; 

France.     B.  1810;  d.  1876. 
David,     Ferdinand     (dah-veed).       Violinist; 

Germany.      B.  1810;   d.  1873. 

Day,  Alfred.     Theorist;  England.     B.  1810; 

d.  1849. 
De  Koven,  R.      Composer;    U.   S.   A.      B. 

1859. 
Delibes,    Leo    (deh-Ieeb).      Operas;    France. 

B.  1836;  d.  1S91. 


DEMI-CROCHE 


31 


DISPOSITION 


Demi-croche  (Fr.)  [crosh).  A  sixteenth- 
note. 

Demi-jeu  (Fr. )  {zheu).  Half  play;  a  direc- 
tion in  organ  playing  to  use  half  the  power 
of  the  instrument. 

Demi-pause  (Fr. ).     A  half-rest. 

Demi-semi-quaver.     Thirty-second  note. 

Demi-soupir  (Fr.)  {soo-pee).     Eighth-rest. 

Derivative.  Any  chord  of  which  the  root  is 
not  at  the  bass;   an  inverted  chord. 

Des  (Ger.).     D  flat. 

Descant  or  Discant.  (i)  The  earliest  at- 
tempts at  adding  other  parts  to  a  cantus  were 
called  descant.  (2)  The  highest  part  (so- 
prano) in  vocal  music. 

Des  dur  (Ger.).     DI2  major. 

Desiderio   (It.)    {i.{eh-sce-dee'-7-io).      Longing. 

Des  moll  (Ger.).      D2  minor. 

Dessus  (Fr.)  [iles-soo).  The  soprano  part  in 
vocal  music. 

Destinto  (It.)  [lieh-stin-to).     Distinct. 

Desto  (It.).     Sprightly;  briskly. 

Destra(lt.).  Right.  Mano  destra,  the  right 
hand.  Mano  sinistra,  the  left  hand. 
CoUa  destra,  with  the  right.  A  direction 
in  piano  music< 

Detache  (Fr. )  {(.ieh-tash-eJi).  Detached; 
staccato. 

jDeterminato  (It.).  Resolutely;  with  de- 
termination. 

Petto  (It.).     The  same.     II  detto  voce,  the 

same  voice. 

Development.  [In  German,  Dinr/ifiik- 
ning.'\  (I)  The  technical  name  of  that  part 
of  a  sonata  form  which  precedes  the  return 
of  the  principal  theme.  In  the  develop- 
ment both  the  themes  are  used  in  fragments 
mixed  with  new  matter,  the  object  being  to 
present  the  musical  thought  in  every  possible 
aspect.      (2)    The  working  out  of  a  fugue. 

Devoto  (It.).     Devout. 

Devozione  (It.)  {<{eh-vot-see-o'-neh\,  con. 
\\  ith  devotion. 

Di  (It.)  {dee).  By,  with,  of,  for.  Di  bra- 
vura, with  bravura.     Literally,  with  bravery. 

Diana  (It.),  Diane  (Fr.).  A  morning  seren- 
ade;  aubade. 

Diapason  I  Gr.).  (l)  An  octave.  (2)  An 
organ-stop  of  8-foot  pitch,  open  or  closed 
(stopped).  (3)  The  standard  pitch,  A  =  435 
vibrations  per  second,  not  yet  universally 
adopted. 

Diatonic,  (i)  The  major  and  minor  scales. 
Strictly    speaking,    the    modern    harmonic 

De  Reszke,  Eduard  (rets-kay).  Baritone; 
Poland.      B.  1855. 

De  Reszke,  Jean  {rets-kay),  his  brother. 
Tenor.     B.  1852. 


minor  is  not  jiurely  diatonic,  owing  to  the 
presence  of  the  augmented  2d  between  6 
and  7.  (2)  Diatonic  chords,  melody,  pro- 
gressive modulation,  are  those  in  which  no 
note  foreign  to  the  scale  in  which  they  are 
written  appears.  [From  Gr.  dia-teino, 
to  stretch;  referring  to  the  string  of  the 
canon  or  monochord.] 

Di  colto  (It.).      Suddenly. 

Diecetto  (It.)  {dee-chetto).  A  composition  for 
ten  instruments. 

Diese  (Fr.)  [dee-ehs).     A  .sharp. 

Difficile  (It.)  {dif-fee'-chee-leh).  Difficile 
(Fr.)  {dif-fi-seel).     Difficult. 

Di  gala  (It.).     Merrily. 

Diluendo  (It.)  \_dilHere,  to  dilute].  Wasting 
away  ;  decrescendo. 

Diminished.  (l)  Intervals  less  than  minor 
or  perfect.  (2)  A  chord  with  diminished 
5  th,  as  on  the  7th  of  the  scale  or  the  cd  of 
the  minor  scale.  (3)  Diminished  7th  chord, 
a    chord    composed   of  three  superimposed 

minor  thirds,  as  B  D  F  A^ 
Diminuendo  (It.).     Same  as  Decrescendo. 
Diminution.      In  canon  and  fugue,  w^hen  the 

answer  (comes)  is  given  in  notes  of  half  (01 

less)    the    value    of    those    in    the    subject 

(dux). 

Di  molto  (It.).  Very  much.  Allegro  di 
molto,  very  i^ast. 

Direct.      (l)   A  sign    y\/\/     placed  at  the 

end  of  a  staff  to  indicate  what  is  the  lirst 
note  on  the  next  ]5age.  (2)  In  MS.  music 
it  indicates  that  the  measure  is  completed 
on  the  next  line. 

Direct  Motion.   Both  (or  all)  parts  ascending 

or  descending  together. 
Dis  (Ger.).     D  shaip. 
Discant.     See  Descant. 

Discord.  Cacophony;  noise.  Used  incor- 
rectly for  dissonance.  Dissonance  is  musi- 
cal, but  discord  never  is. 

Disinvolto  (It.).      Free;   naturally;  easily. 

Disjunct  Motion.     Moving  by  skips. 

Dis  moll  (Ger.).      D*J  minor. 

Disperato  (It.),  Con  disperazione  {dis- 
peh-ratz-eo'-neli).  Desparingly;  with  des- 
peration. 

Dispersed  Harmony.  When  the  members 
of  the  chords  are  separated  widely. 

Disposition,  (i)  Of  a  chord,  the  order  in 
which  its  members  are  arranged.  (2)  Of  a 
score,   the  order  in  which  the    instruments 

Devrient,  Ed.  P.  [deh'-vree-ong).  Basso; 
Germany.      B.  1 801  ;  d.  1877. 

Devrient,  Mme.  W.  Schroeder.  Soprano. 
B.  1804;  d.  i860. 


DISSONANCE 


32 


DOUBLE  Bass 


are  arranged  on  the  page.  (3)  Of  an  or- 
chestra, the  positions  assigned  to  the  differ- 
ent instruments. 

Dissonance.  An  interval,  one  or  both  of 
whose  members  must  move  in  a  certain  way 
to  satisfy  the  ear.  All  augmented  and 
diminished  intervals,  seconds,  sevenths,  and 
ninths,  are  dissonances. 

Ditty.  A  short  simple  air,  originally  with 
words  that  contained  a  moral. 

Divertimento  (It.)  {(lee-ver-tee-j)ien' -to).  Di- 
vertissement (Fr.  ){di'e-vehr-tiss-i)iong).  (l) 
A  pleasing,  light  entertainment.  (2)  A 
composition  or  arrangement  for  the  piano  ; 
this  is  the  most  usual  meaning.  (3)  A 
suite  or  set  with  a  number  of  movements 
for  instruments,  called  also  a  serenata. 

Divisi  (It.).  Divided;  a  direction  that  the 
siring  instruments  must  divide  into  two 
masses  or  more,  as  may  be  indicated  by  the 
composer. 

Divisions.     An  old  name  for  elaborate  vari- 
ations. 
Divoto  (It.).     See  Dei'o/o. 
D  moll  (Ger. ).     D  minor. 

Do.  (l)  The  first  note  in  the  natural  scale  in 
Italy  ;  this  syllabic  was  substituted  for  ui, 
the  first  of  the  Cniidonian  syllables;  tit  is 
still  retained  in  France.  (2)  In  the  "  mov- 
a'ile  do  "  system  of  singing,  the  keynote  of 
every  scale  is  called  do. 

Dodecuplet.  A  group  of  twelve  notes  played 
in  the  time  of  eight  of  the  same  denomina- 
tion. 

Doigter  (Fr.)  {doy-teh).      See  Fingering. 

Dolcan,  Dulciana.  Soft  eight-foot  open 
organ-stop. 

Dolce.    A  stop  of  same  character  as  dulciana, 

but  softer. 
Dolce  (It.)  {dol-i/ii'/i).     Sweet. 

Dolcemente,  con  dolcezza  (It.)  [dol-chet- 
zah).     With  sweetness. 

Dolciano,  Dolcino  (It.),  Dulcan  (Ger.). 
Dulciana  stop. 

Dolcissimo     (It.)     (dole-chis-see-  mo).       As 

sweet  as  possible. 
Dolente  (It.).     Afflicted. 
Dolentimente  (It.).    Mournfully;  afflictedly. 

Dolzflbte(Ger.)  (,^//.f/«-/^/0.  (i)  The  old 
German  fiute  with  si.\  holes  and  one  key. 
(2)   A  soft  eight-foot  organ-stop. 

Diabelli,  Anton  [dee-a-bel' -lee).     Composer; 

Germany.      B.  1781  ;  d.  1858. 
Dohler,  Theo.  (de/i-ler).    Pianist  ;    Italy.    B. 

1814;  d.  1856. 
Donizetti,    Gaetano    [do-nee-tzet'-tee,  gah-e- 


Domchor  (Ger.)  [do/iie-kor).  Cathedral  choir. 

Dominant,  (i)  The  fifth  note  in  the  scale. 
(2)  The  reciting  note  in  Gregorian  chants. 

Dominant  Chord.  The  major  triad  on  the 
fifth  of  the  major  or  minor  scale. 

Dominant  Key.  The  usual  key  in  which 
the  second  theme  of  a  sonata  or  rondo  in 
major  mode  is  written. 

Dominant  Seventh.  The  seventh  over  the 
root  added  to  the  dominant  chord. 

Dopo  (It.).     After. 

Doppio  (It.)  {dop'-pee-o').  Double,  as  (/c///^ 
viovenicnlo,  double  movement,  i.  e.,  twice 
as  fast. 

Dorian.  A  Greek  or  ecclesiastical  mode,  D 
to  D. 

Dot.  (l)  A  dot  after  a  note  or  rest  increases 
its  duration  one-half;  a  second  dot  in- 
creases the  duration  one-half  of  the  first  dot 


r 


"I     I     I 

»    p    p    p 

I     1     I     u 


(2)  A  dot  over  a  note  signifies  that  it  is  to 
be  played  or  sung  staccato.  (3)  Dots  com- 
bined with  slur 


r 


in  music  for  bow  instruments  signify  the 
notes  are  to  be  played  with  one  motion  of 
the  bow  with  a  slight  stop  after  each  note ; 
in  piano  music,  to  raise  the  arm  with  stiff 
wrist  after  each  note  or  chord  and  let  it  fall 
lightly  from  the  elbow  on  the  next.   (4)  Dots 


over  a   note    thus 


r 


signify  that    the 


note  is  to  be  repeated  by  sub-division  into 
as  many  notes  as  there  are  dots. 

Double,  (i)  An  oldname  for7'i7;7'rt/'/c7«.  (2) 
An  octave  below  the  standard  pitch,  as 
double  bass,  double  diapason,  double 
bassoon. 

Double  (Fr. )  [doobl).  A  variation  on  a  min- 
uet; in  Italian,  alternativo. 

Double  Bar.  Two  single  bars  placed  close 
together  signifying:  (i)  The  end  of  a  part 
or  piece.  (2)  A  change  of  key  or  of  time 
signature.  (3)  In  hymn-tunes  the  end  of 
a  line. 

Double  Bass.  The  violone  \\\..,vee-o-lo-neJi, 
Fr. ,    contrabasse].       The     largest    of    the 

tah'-iio).      Composer;   Italy.      B.  1797;  d. 

184S. 
Donzelli,  Domenico   [dond-sel'-lee).     Tenor; 

Italy.      B.  1790;    d.  1873. 
Dorn,   Ileinrich   L.    E.       Composer,   pianist; 

Germany.      B.  1804;   d.  1892. 


DOUBLE   BASSOON 


33 


DULCIANA 


violin  family.     Two    kinds   are  in  use,  one 
with  three  strings  tuned: 


f"\» 

<J 

T*                                                ITS 

-^                           ^ 

^ 

one  with  four  strings  tuned  : 

pvi 

_S^ 

^^ f> 

/2 

The  pitch  is  an  octave  below  the   written 

notes. 
Double    Bassoon.      A    bassoon    of  l6-foot 

pitch 
Double  Bourdon.     An  organ-stop  of  32-foot 

tone. 

Double  Chant.     See  Cliaiit. 

Double  Counterpoint.  A  counterpoint  so 
contrived  that  it  may  lie  placed  either  above 
or  below  the  theme,  without  producing 
any  forbidden  intervals.  A  double  counter- 
point is  said  to  be  at  the  octave  when,  if 
written  above  the  theme,  it  may  be  moved 
down  an  octave ;  at  the  loth,  if  it  may  be 
moved  down  a  tenth  ;  at  the  12th,  if  it  may 
be  moved  down  a  twelfth.  Double  counter- 
point "may  also  be  at  the  9th  and  Ilth,  but 
the  former  are  much  more  used. 

Double  Croche  (Fr.)  {doobt  crosJi).  A  six- 
teenth-note. 

Double  Diapason.  An  organ-stop  of  16- 
foot  tone. 

Double  Drum.     A  drum  struck  at  both  ends. 

Double  Flat,  J^lz,  depresses  a  letter  a  whole 

tone. 

Double  Main  {jiiaiig).  Octave-coupler  in 
the  organ. 

Double  Sharp,  '^,  raises  a  letter  a  whole 
tone. 

Double  Stop.  In  violin  music,  playing 
simultaneously  on  two  strings. 

Double  Tongueing.  Playing  repeated  stac- 
cato notes  on  the  flute,  cornet,  etc.,  by  a 
movement  of  the  point  of  the  tongue  against 
the  roof  of  the  mouth. 

Double  Touche  (toosli).  A  contrivance  for 
regulating  the  depth  of  the  descent  of  the 
keys  of  the  harmonium. 

Doublette  (Fr. )  (doo-b/et).  A  two-foot  organ- 
stop,  the  15th,  or  a  compound  stop  of  two 
ranks. 

Doucement  (Fr. )  [doos-»iotig).  Sweetly, 
softly. 

Doux  (Fr.)  ((/()()).     Sweet,  soft. 

Dowland,  John.  Madrigalist  and  lutenist. 
B.  1562;  d.  1626. 

Dragonetti,  D.  [drah-go-n^t'-tee).  Double 
bass  player;    Italy.      B.  1755;  d.  1846. 

3 


Down  Beat.  The  lirst  l>eatiin  the  measure  j 
the  principal  accent  in  the  measure. 

Down  Bow.  In  instruments  of  the  viclin 
family,  the  motion  of  the  bow  from  the  nut 
to  the  point.  The  sign  is  i"!  or  A.  In 
French  the  word  tirez  {tee-reh),  draw. 

Doxology  [from  Greek  ^/(ua,  praise  ;  leg'^,  to 
proclaim].  A  short  ascription  of  praise  to 
the  Trinity,  metrical  or  otherwise. 

Drammatico  (It.),  Drammaticamente  (It.) 

Dramatic  ;   in  dramatic  style. 
Drangend  [Qitx.)  (drayii'-genty     Hurrying, 

accelerating. 
Dritta  (It.).     The  right  hand. 
Droit  or  Droite   (Fr. )    {droa).      Right  hand. 

Drone.  The  pipe  that  sounds  one  note  con- 
tinuously in  the  bagpipe. 

Drum.  An  instrument  of  percussion,  the  body 
hollow,  made  of  wood  or  metal,  one  or  both 
ends  being  covered  with  vellum  or  parch 
ment  drawn  tight  by  braces.  Three  kinds 
of  drum  are  used  in  modern  music:  (i) 
The  kettle  drum  ;  this  is  the  only  one  that 
may  be  tuned  to  definite  pitch ;  a  pair  are 
generally  usetl  in  the  orchestra,  tuned  usu- 
ally to  the  1st  and  5th  of  the  key.  (2)  The 
snare  drum  or  side  drum,  with  parchment  at 
both  ends  ;  that  at  one  end  is  crossed  by 
several  thick  gut-strings  tliat  rattle  when  the 
drum  is  struck  on  the  other  end  by  the  ]iair 
of  drumsticks.  (^  The  long  drum,  double 
drum,  gi-osse  caisse,  used  chiefly  in  military 
music;   struck  on  both  ends. 

Drum  Slade.     A  drummer. 

Due  (It.)  [doo-eh).  Two.  A  due,  by  two; 
that  is,  divide,  when  marked  over  a  string 
part  in  the  orchestra  ;  but  when  over  a  wind 
instrument  part  it  means  that  both  of  the 
pair  are  to  play  the  notes. 

Due  corde  (It.).  Two  strings.  In  violin 
music,  means  that  the  note  is  to  be  played 
on  the  open  string  and  as  a  stopped  nct^: 
simultaneously.  The  only  notes  that  may 
be  so  played  on  the  violin  are : — 
0  0  0  1 


:s^; 


IS*- 


r 


sometimes  signified  by  writing  them  as  above. 
Duet,  Duo  (Fr.),  Duetto  (It.).     A  compo- 
sition for  two  voices  or  instruments  or  for 
two  performers  on  the  piano  or  organ. 

Duettino  (It.)  [doo-et-tce'-nd).     A  little  duet. 

Dulciana.  A  soft,  open,  8-foot  organ-stoj); 
flue  pipes  ;  in  some  foreign  organs,  a  soft 
reed-stop. 

Dressel,  Otto  ((/r<'//-sf/).     Pianist;  Gernianv. 

B.  1S26;  d.  1890. 
Dreyschock,    Alex,     (dry-shock).       Pianist; 

Germany.      B.  1818;   d.  1869.     . 


DULCIMER 


34 


ELEVATO 


Dnlcimer.  (l)  An  instrument  consisting  of 
an  oblong  or  square  box  strung  with  wire 
strings,  struck  by  small  hammers  held  in  the 
nands  of  the  performer.  (2)  A  small  toy 
instrument,  in  which  strips  of  glass  or  metal 
are  used  instead  of  wire  strings,  played  in 
the  same  way. 

Duolo  (It.)  idoo-o'-lo),  con  doloroso  (It.), 
con  dolore  (It.)  [lio-lo'-reh).  Plaintively; 
mournfully. 

Duple.  Double.  Duple  Time,  two  beats  in 
the  measure. 

Dur  (Ger. )  ((/^<//;-).      Literally,  hard  ;    major. 

Dur  (Fr.).      Hard;   coarse;   rough. 

Duramente  (It.)  {doo-ra-mett' -tch').  Roughly. 

Durchfiihrung     (Ger.)      [doorch'-fee-roonlc). 

Dulcken,  Ferdinand  Q.  [dool-ken).  Com- 
poser, pianist ;   Germany.     B.  1837. 

Dulcken,  Marie  Louise.     Pianist;    Germany. 

B.  181 1 ;  d.  1850. 
Duschek   or    Dussek,    Franz.        Composer; 

Hungary.      B.  1736;  d.  1799. 
Duschek  or  Dussek,  Johann  L.       Pianist. 

B.  1761  ;   d.  1812. 

Dussek,  Sophia,  wife  of  last.  Pianist,  singer, 
iiarpist  ;    Scotland.      B.   1775;  d.  18 — . 


The  working  out :  development  of  a  sonata 
or  fugue.     See  Develop7)ient. 

Durchkomponirt  (Ger.)  {doorch'-kom-po- 
neert).  Composed  through.  Applied  to  a 
song  that  has  a  separate  setting  for  each 
stanza. 

Durezza  (It.)  [doo-retz-a).  con.  With  stern- 
ness. 

Dur-moll  Tonart  (Ger.).  Major-minor  scale 
or  mode :  a  diatonic  scale  with  major  3d  and 
minor  6th. 

Duro  (It.),  Durate  (It.).     Harshly. 

Duster  [Gqx.')  [ders-tckj).  Gloomy;  mourn- 
ful ;   sad. 

Dux  (Lat.).  Leader;  the  theme  of  a 
fugue . 

Duvernoy,  Jean  B.    [doo-ver-noy).      Pianist, 

teacher  ;    France.      B.  1802  ;   d.  1880. 
Dvorak,     Anton     {tfor-skak).       Composer; 

Bohemia.     B.  1841  ;  d.  I904. 
Dwight,  T-  S.      Critic;  U.  S.  A.      B.  1813; 

d.  1893: 
Dykes,  Rev.  J.  B.     Hymn  writer;  England. 

B.  1823;  d.  1876. 


JE.  (i)  The  third  of  the  natural  major  scale, 
fifth  of  the  natural  minor.  (2)  The  first  or 
highest  string  (chanterelle)  of  the  violin. 
(3)  The  fourth  or  lowest  string  of  the 
double  bass. 

E  (It.)  (eh).  And;  when  the  word  that  fol- 
lows begins  with  a  vowel,  ed  (e/id). 

Ebollimento  or  Ebollizione  (It.)  [eh-bol- 
litz  -  ee  -  o' -  itc/i ).  Boiling  over ;  sudden 
expression  of  passion. 

Ecclesiastical  Modes.  The  scales  called 
also  Ambrosian  and  Gregorian,  in  which 
plain  song  and  plain  chant  are  written. 
They  differ  from  the  modern  diatonic  in  the 
position  of  the  half-tones ;  their  position 
depends  upon  the  initial  note  of  the  scale. 

Echelle  (Fr.)  {eh-s/iel).     A  scale. 

Echo  Organ.     A  set  of  pipes  in  old  organs 

enclosed  in  a  box. 
Eclat  (Fr.)  {eh-clmv).      Fire;   spirit. 

Eclogue  or  Eglogue  (Fr. )  [from  Greek 
huFya.  to  select].  A  pastoral;  a  poem  in 
which  shepherds  and  shepherdes.ses  are  the 
actors. 

Eberl,  Anton  [ck'-berl).  Composer,  pianist ; 
Austria.     B.   1766;  d.  1817. 


Ecole  (Fr.)  [eh-colc).     A  school  or  style  of 

music. 
Ecossais    (Fr.)    (ek-cos-seh)    or    Ecossaise 

{ek-cos-saze).     (l)   In  the  Scotch  style.     (2) 

A  lively  dance. 
Eguale  (It. )  (eh-gwah-leJi).      Equal;    steady. 
Egualmente.     Equally ;  steadily. 
Einfach    (Ger.).       Simple.       Einfachheit, 

simplicity  in  construction. 

Einfalt  (Ger.).      Simplicity  in  manner.      Mit 
Einfalt,  in  a  simple,  natural  manner. 

Einleitung   (Ger.)    i^ein-lei-toonk).      Leading 

in ;  introductory. 
Einschlafen  (Ger.).     Diminish  in  power  and 

movement. 
Eis  (Ger.)  (eh-is).     E  sharp. 
Eisteddfod     (Welsh)     {ice-steth'-fod).       In 

modern  usage  a  musical  contest  for  prizes. 
Eleganza    (It.)  [e/i-lee-f^antza),   con.    With 

grace. 
Elegy.      A   mournful    poem    commemorating 

the  dead. 
Elevato    (It.)     {eh-leh-vah'-td).       Elevated; 

exalted. 

Eddy,  Hiram  Clarence.     Organist ;  U.  S.  A. 
B.  1851. 


ELIGIAC 


35 


ESPRESSIONE 


Eligiac.     In  the  style  of  an  elegy. 
Embellishment.    The  ornaments  of  melody, 
as  trill,  turn,  mordent,  etc. 

Embouchure  (Fr. )  (om-booshoor).  (i)  The 
mouth-piece  of  a  wind  instrument.  (2) 
The  position  and  management  of  the  mouth 
and  lips  of  the  player. 

E  moll  (Ger. ).     E  minor. 

Empater  les  sons  (Fr.)  (om-pahteh  leh 
song ) .  Literally,  to  strike  the  sounds 
together ;   to  sing  extremely  legato. 

Empfindung  (Ger. )  (  eiiip  -Jin  -  doonk  ). 
Emotion  ;   passion. 

Emporte  (Fr. )  {om-pcr-fek),  Empresse 
(Fr. )  [om-pres-sch).  Hurried;  eager;  pas- 
sionate. 

Encore  (Fr.)  [ong-core),  Ancora  (It.). 
Again  ;  a  demand  for  the  re-appearance  of 
a  performer ;  the  piece  sung  or  played  on 
the  re-appearance  of  the  performer. 

Energia     (It.)     {eh-7itir-jea),     con.     With 

energy. 
Energico,      Energicamente,       Energisch 

(Ger.).      Energetic;   forcibly. 

Enfatico  (It.)  [en-fa'-tee-ko).  Emphatic; 
decided. 

Enfasi  (It.)  {en-fah'-see),  con.  With  em- 
phasis. 

Engelstimme  (Ger.).  Angel  voice;  a  soft 
organ-stop  ;    vox  angelica. 

Enharmonic.  In  modern  music,  a  change 
of  the  letter  without  changing  the  pitch,  as, 
Cjf,  Dlz. 

Enharmonic  Modulation.  A  modulation 
in  which  the  above  change  takes  place,  as. 


-g- 


ll. 


3s: 


4^^ 


^ 


Ensemble  (Fr.)  {ong-sombl).  Altogether. 
(l)  The  union  of  all  the  performers.  (2) 
The  effect  produced  by  this  union.  (3) 
The  manner  in  which  a  composition  for 
many  performers  is  "  put  together." 

Entr'acte  (Fr. )  (on-trakt).  Between  the 
acts  ;  music  performed  between  the  acts  of 
a  drama. 

Entrata  (It.),  Entree  (Fr.).  Entry;  intro- 
duction, prelude  ;  the  first  movement  of  a 
serenata. 

Eichberg,  Julius.     Composer  ;   Germany.    B. 

1.S24;   d.  1S93. 
Elson,  Louis  C.      Critic,  historian  ;   U.  S.  A. 

B. 1848. 

Elvey,  Sir  George  J.     Organist,  composer; 

England.      B.  1816;  d.  1893. 
Elvey,    Stephen,   brother  of  preceding.     B. 

1805 ;   d.  i860. 


Entschlossen  (Ger.)  {ent-shlos-seti).  Reso- 
lute ;   resolutely. 

Entusiasmo  (It.)  {ehn-too' -see-as- mo),  con. 
With  enthusiasm. 

Eolian  or  jEolian.  (i)  One  of  the  Greek 
and  ecclesiastical  scales.  (2)  A  species  of 
harp  played  on  by  the  wind. 

Epicede  (Fr.),  Epecedio  (It.)  (ep-ee-che- 
dee-o).     A  funeral  dirge. 

Epinette  (Fr. ).     A  spinet. 

Episode.  The  parts  of  a  fugue  that  inter- 
vene between  the  repetitions  of  the  main 
theme. 

Epithalamium.     A  wedding  song. 

E  poi  (It.).      And  then  ;   after. 

Equabile    (It. )    [f/i  -  qua  -  bee  -  leh).      Equal ; 

steady. 
Equabilmente.     Equally  ;   steadily. 

Equal  Voices.  A  composition  is  said  to  be 
for  equal  voices  when  written  for  men"? 
only  or  women's  only.  When  male  and 
female  voices  are  combined  the  music  is 
said  to  be  for  mixed  voices. 

Equisono  (It  ).      Equal  sounding;   unison. 

Equivocal  Chords.  Dissonant  chords  that 
are  common  to  two  or  more  keys,  or  that 
may  be  enharmonically  substituted  for  each 
other,  as  the  diminished  5th  chord,  dimin- 
ished 7th  chord,  and  augmented  6th  chord. 

Ergriffen  (Ger.).     Affected;  moved. 

Ergriffenheit.     Emotion.       .  • 

Erhaben  (Ger.).     Lofty  ;  sublime. 

Erhabenheit.     Sublimity. 

Ermattet  (Ger.).     Exhausted. 

Ernst  (Ger.).      Earnest;   serious. 

Eroica  (It.)  (eh-ro'-ee-ka).      Heroic. 

Erotic.     Amatory.      [Gr.  Eros,  Cupid.] 

Ersterbend  (Ger. ).    Dying  away  ;  morendo. 

Es  (Ger.).      E  flat. 

Es  dur  (Ger  ).     E  flat  major. 

Es-es  (Ger.).     E  double  flat. 

Es  moll  (Ger.).     E  flat  minor. 

Espagnuolo    (It.)    [e/is  -pan  -  yu-olo).      In 

Spanish  style. 
Espirando  (It.).     Dying  away. 
Espressione   (It.)  {ehs-pres-see-o-neJi),    con. 

With  expression. 

Emerick,  Albert  G.  Organist;  U.S.A.  B. 
1817. 

Emory,  Stephen.  Theorist;  U.  S.  A.  B. 
1841  ;  d.  1893. 

Epstein,  Abraham,  b.  1855  ;  Epstein,  Mar- 
cus, b.  1857,  brothers.  Four-hand  pianists  ; 
U.  S.  A. 

Erard,  Sebastian.  Piano  maker ;  Paris.  B. 
1752;  d.  1831. 


ESPRESSIVO 


36 


FANDANGO 


Espressivo  (It.).     Expressive. 

Essential  Dissonances.  Those  that  are 
added  to  the  dominant  chord.  Auxiliary 
notes  of  all  kinds  are  non-essential  disso- 
nances. 

Essential  Harmony.  The  harmony  inde- 
pendent of  all  melodic  ornaments,  etc. 

Estinguendo  (It.)  {es-tin-gncn-dd).  As 
soft  as  possible. 

Estinto  (It.).       Dying  away  ;   extinguishing. 

Estravaganza  (It.)  [es-trah-vah-gantza).  A 
fanciful  composition  ;   a  burlesque. 

£toffe(Fr. ).      Full;   sonorous. 

Etouffee  (Fr.).     Stifled  ;  damped. 

Etude  (Fr.)  [eh-tood^.     A  study,  lesson. 

Etwas  (Ger.)  (^st-vos).  Somewhat;  as,  etwas 
langsam,  somewhat  slow. 

Euphonium.  A  large  brass  instrument  of  the 
saxhorn  family,  used  in  military  bands ;  a  free 
reed-stop  in  the  organ,  sixteen-foot  pitch. 

Euphony  [Gr. ,  eii,  good;  phone,  sound]. 
Well-sounding ;    agreeable. 

Exercise.  (l)  A  study  designed  to  overcome 
some  special  difficulty  or  strengthen  special 
muscles.  (2)  A  lesson  in  harmony,  counter- 
point, or  composition.  (3)  A  composition 
written  as  a  thesis  for  the  obtaining  of  a  de- 
gree. 

Ernst,  H.  W.  Violinist,  composer;  Ger- 
many.     B.  1814;   d.  1865. 


Exposition.  The  giving  out  of  the  subject 
and  answer  by  all  the  voices  in  turn  at  the 
opening  of  a  fugue. 

Expression.  The  performance  of  music  in 
such  a  manner  as  to  bring  out  all  its  emo- 
tional and  intellectual  content.  Intelligent, 
appreciative  performance. 

Expression  (Fr.).  The  name  of  a  harmo- 
nium stop. 

Extempore  (Lat.)  {ex-tern' -po-reJi).  The 
gift  of  playing  music  composed  as  it  is 
played. 

Extemporize.  To  play  unpremeditated 
music. 

Extended  Harmony.  Reverse  of  close  har- 
mony, q.  V. 

Extension,  (i)  Violin  playing, to  reach  with 
the  fourth  or  first  finger  beyond  the  "  posi- 
tion "  in  which  the  hand  may  be.  (2)  In 
piano  music,  spreading  the  hand  beyond  the 
"five-finger"  position. 

Extraneous  Modulation.  A  modulation  to 
a  distant  or  non-related  key. 

Extreme.  The  outside  parts,  as  bass  and  so- 
prano. 

Extreme.  Used  by  many  writers  on  harmony 
in  the  sense  of  augmented;  as,  extreme  2d. 
or  5th  or  6th. 

Essipoff,  Annette.  Pianist ;  Russia.  B. 
1850. 


F.  The  fourth  or  subdominant  of  the  natural 
major  or  minor  scale. 

Fa.  The  fourth  of  the  syllables  adopted  by 
Guido,  called  the  Aretinian  syllaiiles.  In 
"Movable  Do"  system  the  fourth  of  any 
scale. 

Fa  bemol  (Fr.).     F  flat. 

Fa  burden,  Falso  bordone  (It.),  Faux 
bourdon  (Fr. ).  (l)  An  ancient  species  of 
harmonization,  consisting  of  thirds  or  sixths 
added  to  the  cantus.  (2)  A  drone  bass  like 
a  bagpipe. 

Facile  (Fr.)  {fa-seel),  Facile  (It.)  {fah-chee- 
If/i).     Easy. 

Facilment  (Fr.)  {fa-seel-mong),  Facilmente 
(It.)    {fa-cheel-men-teh').      Easily;    fluently. 

Facilite  (Fr.).  Made  easy  ;  an  easy  version 
of  a  difficult  passage. 

Facture  (Fr.)  {fak-toor),  Fattura  (It.)  {fat- 
too-rah\.  Literally,  the  making.  The  con- 
struction of  a  piece  of  music ;  the  scale  of 
organ-pipes. 

Fa  diese  (Fr. )    {dee-ehs).      F  sharp. 


Fagotto  (It.),  Fagott  (Ger.).  Bassoon  (so 
called  from  its  resemblance  to  a  fagot  or 
bundle  of  sticks).  A  double-reed  instrument 
of  great  utility  in  the  orchestra.  Compass, 
three  octaves  (and  over)  from  BJ2  below  the 
bass  stafit. 

Fagottone  (It.)  {fag-got-to'-neli).  Double 
bassoon. 

Faible  (Fr.)  {faybl).  Weak.  Temps 
faible,  weak  beat. 

False  Cadence.     A  deceptive  cadence. 

False  Fifth.    A  name  for  the  diminished  fifth. 

False  Relation.  When  a  note  sounded  by 
one  voice  is  given  in  the  next  chord,  altered 
by  #,  J2,  or  jj,  by  another  voice,  thus: — 


Falsetto   (It.).     The  highest  register  of  the 

voice. 
Fandango   (Sp.).     A  rapid  dance  in    triple 

time. 


FANFARE 


37 


FINALE 


pompously  ; 


Fanfare  (Fr.),  Fanfara  (It.).  A  brilliant 
trumpet  call  or  flourish  ;   a  brass  band. 

Fantasia  (It.),  Fantasie  (Ger.),  Fantaisie 
(Fr. ).  A  composition  that  is  not  in  any  of 
the  regular  forms ;  often  used  of  pianoforte 
arrangements  of  themes  from  operas. 

Fantasia,  Free.  The  name  sometimes  given 
to  that  part  of  a  sonata  that  comes  after  the 
double  bar ;  the  Durchfiihrung  or  develop- 
ment. 

Fantasiren  (Ger.)  [fait-ta-see-ren).  To  im- 
provise. 

Fantastico  (It  ),  Fantastique  (Fr.).  Fan- 
tastic ;    grotesque. 

Farandola  (It.),  Farandole  or  Farandoule 
(Fr. ).  A  rapid  dance  in  |  time,  Southern 
France  and  Italy. 

Fascia  (It.)  {fashiah).     A  tie.     /^~N 

F  Clef.     See  Clef. 

F  dur  (Ger.).     F  major. 

Feierlich      (Ger.).       Festal; 
grandly  ;   solemnly. 

Feld  (Ger.).     Field  ;    open  air. 

Feldmusik.     Military  music. 

Feldton.  The  key  of  Et?,  often  used  for  mili- 
tary band  music. 

Fermata  (It.)  [irova  fermare,  to  stay].  A 
pause.  /TV  A  cessation  of  accompani- 
ment and  time,  while  a  soloist  executes  a 
cadenza. 

Fermato,  Fermamente  (It.).  Firmly;  de- 
cidedly. 

Feroce   (It.)   {feh-ro'-cheh).       Wild;    fierce. 

Ferocita  (It.)  {^feh-ro'-chee-tah),  con.     With 

ferocity. 
Fertig  (Ger. ).     Quick;   ready;   nimble. 
Fertigkeit.     Dexterity  ;   technical  skill. 

Fervente  (It.)  {fer-ven'-tek).  Fervent;  ve- 
hement. 

Fes  (Ger.).      F  flat. 

Fest  (Ger.).      Festival. 

Fest  (Ger.).      Fast;   fixed. 

Fester  Gesang.     Canto  firmo. 

Festgesang.     Festival  song. 

Festivo  (It.)  {fes-tee' -vo).     Festive;  solemn. 

Festivamen'te   (It.).      Festively;    solemnly. 

Festivita  (It.)  {fes-tee' -vee-ta),  con.  With 
joyfulness. 

Faelten,  Carl.    Pianist;   Germany.     B.  1846. 
Farinelli,  Carlo  B.  [fah-ree-nel-lee).   Sopran- 

ist;   Italy.      B.  1705;  d.  1782. 
Faure,  J.  B.  [fore).     Baritone  and  composer ; 

France.      B.  1830. 
Favarger,     Rene     (  fa-var-zheJi).       Pianist  ; 

France.      B.  1815  ;"  d.  1868. 


Festo'so  (It.).  Gay;  joyful. 
Feuer  (Ger.)  {foy-e/ir).  Fire. 
Feuerig  (Ger.).     Fiery. 

F-holes.      The  openings  in  the  belly  of  in 
struments   of   the   violin   family ;    so  called 
from  their  shape,  f 

Fiacco  (It.)  (/^-c"  «/{''-/!■(').     Weak;   faint. 

Fiasco   (It.).      A   failure ;    breakdown.      Lit- 
erally, "  a  flask." 
Fiato  (It.).     Breath. 

Fiddle.  This  word  and  "  violin  "  both  come 
from  the  same  root — the  Low  Latin  word 
vituln. 

Fidicen  (Lat.).  A  harp  or  lute  player.  [From 
Lat.  fides,  a  string,  and  caiio,  to  sing.] 

Fidicinal.     A  general  term  for  string  instru- 
ments. 
Fiedel  (Ger.).     Fiddle. 
Fieramente  (It.).     Proudly;  fiercely. 

Fiero  (It.)  {fee-eh-ro),  Fier  (Fr.)  {fee-e/i). 
proud  ;   fierce.  - 

Fife,  Fifre  (Fr.),  Piffero  (It.),  Querpfeife 
(Ger.)  [kvchr-pfei-feh\.  A  small  flute  with- 
out keys,  an  octave  higher  than  the  flute, 
used  in  conjunction  with  drums  for  military 
purposes. 

Fifteenth.  An  organ-stop  of  2-foot  pitch  ; 
open ;  metal. 

Fifth.  (l)  An  interval  which  includes  five 
letters.      (2)  The  dominant  of  the  key. 

Figure.  (l)  A  form  of  accompaniment 
maintained  without  change.  (2)  A  re- 
peated melodic  phrase.      (3)   Sequence. 

Figured  Bass,  Basso  figurato  (It),  Basse 
chiffre  (Fr.).  A  bass  with  figures  over  it 
(or  under  it)  to  indicate  the  chord  each  note 
is  to  bear.  Invented  as  a  species  of  musical 
shorthand  it  has  been  retained  as  a  means  of 
teaching  harmony,  although  its  warmest  ad- 
vocates admit  its  inadequacy  to  the  indication 
of  modern  harmony. 

Filar  la  voce  {\\..')  [ferlar-Ia-vocheJi),  Filer 
la  voix  (Fr. )  [fee-leh-la-voa).  To  sustain 
a  sound  with  even  tone.  Literally,  to  spin 
like  a  thread. 

Fin  (Fr.)  (/z;/^'-).  Fine  (It.)  {fee-nek).   End. 

Finale  (It.)  {fee->iaJi-leh).  Final.  The 
last  movement  of  a  sonata  or  symphony  or 
of  the  act  of  an  opera. 

Fesca,    F.    E.       Composer ;    Germany.       B. 

1789;  d.  1826. 
Fetis,  F.  J.  {feh-tees).     Essayist,   composer  ; 

France.      B.  1784;   d.   1871. 
Field,  John.     Pianist;    Ireland.     B.  1782  ;  d. 

1837- 
Fillmore,  J.  C.     Pianist,  essayist;   U.  S.  A. 
B.  1843;  d.  1S9S. 


FINGERBOARD 


38 


FORLANA 


Fingerboard.  The  upper  side  of  the  neck  of 
strmg  instruments,  generally  a  thin  strip  of 
ebony  against  which  the  strings  are  pressed 
by  the  lingers  of  the  left  hand. 

Fingering.  The  art  of  using  the  fingers 
systematically  when  playing  an  instrument; 
the  marks  or  figures  that  indicate  what 
fingers  are  to  be  used. 

Fingersetzung  (Ger. ).      Fingering. 

Finto  (It.).      A  feint ;   applied  to  a  deceptive 

cadence. 
Fioretto  (\.i.)  [fi'e-o-rct-to).     An  ornament, 
b'iorito  (It.)  [fee-o-ree-to).     Florid. 

Fiorituri  (It.)  [fee-o-ree-too-7-ee).  Embellish- 
ments ;   florid  passages. 

Fis  (Ger.).     F  sharp.       Fisfis  or  Fisis,  F 

double  sharp. 
Fis  dur.     F  sharp  major. 
Fis  moll.     F  sharp  minor. 
Fixed  Do.     Do   used    as    the   name   of    C ; 

movable  Jo  is  do  used  as  the  keynote  of  any 

scale. 
Flageolet.     A  small  pipe  blown  at  the  end  ; 

an  organ-stop  of  2-foot  pitch. 

Flageolet  Tones.  The  harmonic  sounds  pro- 
duced by  touching  lightly  the  strings  of 
violin,  etc. 

Flat.  The  sign  of  depression  (|?)  lowers  the 
letter  a  half-tone. 

Flautando,  flautato  (It.).  Flute-lilsc ;  in 
violin  playing,  a  direction  to  produce  flageo- 
let tones. 

Flautino  (It.),  {//au-fee-no).  A  small  flute  ; 
a  piccolo. 

Flue  Stops.  Organ  stops,  the  pipes  of  which 
are  constructed  on  the  same  principle  as  the 
whistle  or  flageolet. 

Flute,  Flauto  (It.)  (flau-to),  Flote  (Ger.) 
[Jlate/i).  (l)  One  of  the  most  important 
of  orchestral  instruments  ;  a  cylindrical  tube 
blown  at  a  hole  in  the  side  called  the  em- 
bouchure. The  modern  flute,  constructed 
on  the  Boehm  system,  is  very  much  superior 
to  the  older  instrument  in  both  tone  and 
tune.      Its  compass  is  from 

Srvz. 


i 


(2)  An  organ-stop  of  8  or  4-foot  pitch ;  in 
French  organs  a  general  name  for  flue  stops. 

Finck,  H.  T.      Essayist.      B.  1854. 

Fioravanti,    V.    (  fee-o-rah-van-tee).       Com- 
poser ;   Italy.      B.  1770;    d.  1837. 

Flotow,   F.    F.    A.     Opera  composer;    Ger- 
many.     B.  1812  ;   d.  1883. 

Foerster,  Adolph  M.    Composer;     U.  S.  A. 
B.  1854. 


There  are  many  varieties  of  the  flute,  the 
major  part  of  which  are  now  either  obsolete 
or  used  as  names  for  organ-stops,  as  flauto 
traverso,  transvere  or  German  flute ;  flute 
d'amour,  a  soft-toned  organ-stop  :  flute  har- 
monique,  an  overblown  flute,  the  pipe  of 
which  is  twice  the  length  necessary  to  pro~ 
duce  the  sound  it  is  made  to  give. 
F  moll.     F  minor. 

Foco  (It.).  Fire.  Con  foco  or  fuoco,  with 
fire. 

Focoso.     Fiery  ;  ardently. 

Foglietto  (li.)  {fol-yet'-to\  The  part  used 
by  the  leader  of  the  violins  in  the  orches- 
tra, containing  cues,  etc.,  of  the  other  in- 
struments, sometimes  used  by  the  conductor 
in  place  of  a  score. 

Fois  (Fr.)  [foa).  Time;  as,  premiere  fois, 
first  time. 

Folia  (Sp.),  FoUia  (It.).  A  Spanish  dance. 
Elaborate  variations  are  called  Follias  de 
Espaiia,  in  French,  Folies  de'Espagne, 
meaning  "  follies  of  Spain  "  (a  pun  on  the 
word  folia),  wdiich  has  become  a  proverbial 
expression  for  trifles. 

Fonds  d'orgue  (Fr. )  {fond-dorg).  The  8- 
foot  flue-stops  of  the  organ.  The  foundation 
stops. 

Foot,  (i)  A  poetic  measure  or  meter.  (2) 
A  drone  bass.  (3)  Ihe  unit  used  in  de- 
termining the  pitch  of  organ  pipes,  the 
standard  being  8-foot  C, 


9* 


the  lowest  note  on  the  manuals  of  the  modern 
organ.  An  open  pipe  must  be  eight  feet  long 
to  produce  tiiis  sound,  if  closed  it  must  be 
four  feet  long.  Applied  toother  instruments 
it  signifies  that  their  pitch  corresponds  with 
that  of  the  organ  diapasons,  that  is,  it  is  the 
same  as  the  written  note.  All  the  violin 
family  are  of  8-foot  pitch,  except  the  double 
bass,  which  is  of  l6-foot  pitch,  that  is,  the 
notes  sound  an  octave  lower  than  written. 
The  flute,  hautboy,  clarionet,  and  bassoon  are 
also  of  S-foot  pitch.  Of  brass  instruments, 
the  cornets,  trumpets,  and  trombones  are  of 
8-foot  pitch.  The  high  horn  in  C  is  8-foot, 
but  the  low  horn  in  C  is  i6foot  pitch. 

Forlana  ( It. ),  Fourlane  (Fr.)  [foor-lan).    A 
dance   somewhat  similiar  to  the   tarantella. 

Foote,    Arthur.       Composer;   U.    S.    A.      B. 

iS53- 
Forkel,  Johann  N.     Organist ;   Germany.    B. 

1749  ;   d.  1818. 
Formes,  Karl  (/£?r-wf/^.f).    Basso;  Germany, 

B.  1810;   d.  1889. 


FORM 


39 


FREDEZZA 


Form.  The  number,  order,  and  key  relation 
of  the  several  themes  that  are  crimbined  to 
make  an  extended  composition,  such  as  the 
sonata,  rondo,  symphony,  concerto,  etc. 
The  lyric  or  dance  form  is  the  germ  from 
which  all  varieties  of  instrumental  music 
have  been  developed.  The  simplest  form 
of  lyric  melody  may  be  thus  divided : 
Motive,  two  measures ;  Section,  two  mo- 
tives ;  Phrase,  two  sections  ;  Sentence,  two 
phrases ;  Period,  two  sentences,  making 
sixteen  measures  in  all.  The  lyric  form 
may  be  extended  indelinitely  by  the  addition 
of  new  periods  in  related  keys.  One  of  the 
most  usual  is  the  addition  of  a  new  period 
in  the  key  of  the  dominant,  subdominant,  or 
relative  minor,  followed  by  a  repetition  of 
the  first  period.  This  is  called  the  Aria 
Form.  It  was  formerly  largely  used  in 
■  vocal  music,  and  is  now  one  of  the  most 
usual  forms  for  the  lighter  class  of  piano 
music.  The  follovi'ing  outlines  of  sonata 
and  rondo  forms  give  their  main  character- 
istics. The  sonata  form  is  the  form  of  the 
symphony,  and  of  the  trio,  quartet,  etc. ,  for 
string  instruments,  or  for  piano  with  strings, 
or  other  instruments.  The  same  is  the  case 
with  the  rondo ;  this  form  is  frequently 
used  for  the  final  movement. 

Outline  of  Sonata  Form  itt  Major  Key. 

FIRST   HALF. 

1st  Theme.  2d  Theme. 

Tonic  key.  Dominant  key. 

SECOND   HALF. 

1st  Theme,     2d  Theme. 
Development.      Tonic  key.     Tonic  key. 


Sonata  in  Minor  Key. 


1st  Theme. 
Tonic. 


FIRST    HALF. 


2d  Theme. 
Relative  major. 


SECOND    HALF. 

1st  Theme.     2d  Theme. 
Development.  Tonic.       Parallel  major. 

Frequent  deviations  may  be  found  from  the 
foregoing  schemes.  The  intervals  between 
the  themes  are  filled  with  transition  passages 
or  modulations  so  constructed  as  to  heighten 
the  effect  of  the  theme  that  follows  ;  codas 
are  frequently  added  after  both  appearances 
of  the  second  theme. 

Modern  Rondo  Form,  Major  Key. 

FIRST    HALF. 

1st  Theme.         2d  Theme.  1st  Theme. 

Tonic.  Dominant.  Tonic. 

Foster,  Stephen.    Songwriter;  U.S.A.    B. 
1826-.  d.  1864. 

Franchomme,    A.    {fransh-om).       'Cellist ; 
France.     B.  1808;  d.  1884. 


SECOND    HALF. 

3d  Theme.    1st  Theme.   2d  Theme.    Coda. 
Sub-dom.  Tonic.  Tonic.       Made 

Rel.  minor.  from  1st 

Parallel  minor.  theme  or 

all  the 
themes. 

For  an  example  of  this  kind  see  Beethoven's 
No.  2  Sonata  of  the  three  dedicated  to 
Haydn,  last  movement. 

Same  Form  of  Rondo  in  Minor  Key. 

FIRST   HALF. 

1st  Theme.  2d  Theme.  1st  Theme. 

Tonic.  Relative  major.  Tonic. 

SECOND    HALF. 

3d  Theme.    1st  Theme.  2d  Theme.    Coda. 

Sub-dom.         Tonic.  Tonic       Minor, 

and  relative  major, 
major. 

See  last  movement  of  Sonata  Pathetique  — 
Beethoven. 

Forte  (It.)  {for-teh).  Loud.  Fort  (Fr.), 
Stark  (Ger.).  Meno  forte,  less  loud. 
Mezzo  forte  (M.  F.),  half  loud.  Piu 
forte,  louder.  Poco  forte,  a  little  loud ; 
rather  loud.  Sempre  forte,  always  loud. 
Forte  stop,  a  mechanism  worked  by  the 
feet  or  the  knee,  or  a  draw-stop,  by  means 
of  which  the  whole  power  of  the  har- 
monium, organ,  etc.,  may  be  put  on  at 
once. 

Forte  possibile  (It.)  { pos-see' -bee-le}i).  For- 
tissimo (It.).      Loud  as  possible. 

Fortemente  (It.):     Loudly;  forcibly. 

Forza  (It.)  {fo?-tza),  con.     With  force. 

Forzando  (It.)  { fortzando).  Forcing  the 
sound  ;  emphasizing  a  certain  note,  indi- 
cated by  <,  /\,  fz,  sfz. 

Forzato  (It.)  {fortzato),  Sforzando,  Sfor- 
zato.  All  have  the  same  meaning  as 
Forzando. 

Fourniture  (Fr.).  A  mixture-stop  in  the 
organ. 

Fourth.  (l)  An  interval  embracing  four 
letters.      (2)  The  subdominant  of  the  scale. 

Fran9aise  (Fr.)   {^frong-says).     A  dance  in 

triple  time. 
Francamente    (It.)     (  frank  -  a  -  men'-  tek). 

Frankly ;   boldly. 

Franchezza  (It.)  (/r^w-^^f/^-sa).  Franchise 
[Fr.)  {  f-ong-shees).    Freedom;    confidence. 

Freddamente  (It.).     Frigidly  ;  coldly. 

Fredezza  (It.)  [freh-det'-za),  con.  With 
coldness. 

Franz,  Robert  (frants).  Composer ;  Ger- 
many.     B.  1815  ;   d.  1892. 

Frescobaldi,  G.  [fres-co-hal-dee').  Composer, 
organist  ;    Italy.      B.  1583  ;   d.  1644. 


FREE  FUGUE 


40 


GALA 


Free  Fugue.     One  that  does  not  conform  to 
strict  rules. 

Free  Parts.     Parts  added  to  a  canon  or  fugue 

that  take  no  part  in  its  development. 
Free  Reed.     See  Reed. 

Free  Style.  The  reverse  of  strict  contrapuntal 

style. 

French  Horn.     .See  Horn. 

I<rench  Sixth.    The  augmented  6th  with  aug- 
mented 4th  and  major  3d. 


^yrr- 


S? 


French  Violin  Clef.  The  G  clef  on  the  first 
line  (obsolete). 

Frets.  Pieces  of  wood,  metal,  or  ivory,  set 
across  the  fingerboard  of  some  string  instru- 
ments, raised  slightly  above  its  surfaces,  to 
regulate  the  pitch  of  the  sounds ;  the  finger 
is  pressed  on  the  string  behind  the  fret,  which 
then  acts  as  a  bridge. 

Fretta  (It.),  con.     With  haste;  hurry. 

Frisch  (Ger.).  .  Fresh;  lively. 

Frohlich  (Ger.).      Gay;   cheerful. 

Frottola  (It.).      A  comic  ballad. 

Fuga,  Fugue  (It.),  Fuge  (Ger.)  [foo-geh). 
[From  Lat., /w^rt,  flight.]  The  parts  seem- 
ing to  fly  one  after  another;  the  highest  de- 
velo]iment  of  counterpoint ;  a  composition 
developed  from  one  or  two  (sometimes  three) 
short  themes,  according  to  the  laws  of  imi- 
tation. The  chief  elements  of  a  fugue  are  : 
(i)  Subject,  or  theme.  (2)  Answer,  imita- 
tion of  theme  at  5th  above  or  below.  (3) 
Counter-subject,  an  additional  theme  which 
accompanies  the  main  theme.  (4)  Episodes; 
these  connect  the  various  repetitions  of  the 
theme  together.  (5)  Organ  point,  generally 
used  before  the  stretto.  (6)  Stretto,  a  draw- 
ing together  of  the  subject  and  answer;  the 
stretto   is   often  written  on   an  organ  point. 

Froberger,  J.  J.  {fro-behr-gehr).      Organist; 
Germany.      B.  1615  ;  d.  1667. 

Fry,  Wm.  H.      Composer;    U.  S.  A.      B. 
1815;  d.  1854. 


(7)  Coda,  the  free  ending  after  the  develop- 
ment is  completed.  Although  all  these 
things  enter  into  the  fugue,  it  is  not  necessary 
that  every  fugue  should  include  all  of  them. 
There  are  many  varieties  of  fugue,  now  hap- 
pily relegated  to  the  limbo  of  musical  an- 
tiquities. The  most  importnnt  are  tlie  Real 
fugue,  in  which  the  subject  and  answer  are 
identical,  and  the  Tonal  fugue,  in  which  an 
alteration  must  be  made  in  the  theme  lo  pre- 
vent its  going  out  of  the  key.  In  the  tonal 
fugue  the  subject  moves  from  the  ttmic  to 
the  dominant,  or  the  reverse.  The  answer 
must  move  from  dominant  to  tonic,  or  the 
reverse. 

Fugara.       An  open,  metal  pipe  organ-stop, 
generally  of  4- foot  tone. 

Fugato.      In    fugue  style.      Aria  fugato,  a 
song  with  fugue-like  accompaniment. 

Fughetto  (It.).     A  slightly  developed  fugue. 

Full  Cadence.     Perfect   cadence.      See    Ca- 
dence. 

Fundamental.     The  generator  or  root  of  a 
chord. 

Fundamental  Bass.     The  roots  of  the  har- 
monics on  which  a  piece  is  constructed. 

Fundamental  Position.     A  chord  with  its 
root  at  the  bass. 

Funebre    (Fr. )    {foo-nebr),    Funerale    (It.) 
{foo-neh-7-ah' - le/i) .      Funereal  ;   dirge-like. 

Fuoco  (It.)  [foo-o'-ko).     Fire.     Con  fuocoi 
with  fire. 

Furia  (It.)  {foo'-re-ah),  con.     With  fury. 

Furibundo  (It.),  Furioso  (It.).     Furiously; 
savagely. 

Furlano  (It.).     See  Forlana. 

Furniture.     A  mixture-stop  in  the  organ. 

Furore   (It.)  [foo-ro' -re/i),  zon.     With  fury; 
passion. 

Fusee    (Fr.)    {foo-seh').     A   slide   from    one 
sound  to  another. 

Fuchs  or  Fux,  J.  J.  [fooks).      Theorist.     B. 
1660 ;  d.  1741. 

Fumagalli,  Adolfo  {foo-mah-gaF -lee').      Pi' 
anist,  composer;  Italy.     B.  1828;  d.  1856. 


G.  (i)  The  fifth  or  dominant  of  the  natural 
major  scale.  (2)  The  fourth  or  lowest 
string  of  the  violin.  (3)  The  third  string 
of  the  viola  and  violoncello  ;  the  first  string 
of  the  double  bass.  (4)  The  letter  repre- 
sented by  the  G  or  treble  clef.  (5)  Ab- 
breviation for  Gauche  (Fr. )  (gmcs//).  left. 

Gagliarda    (It.)    {ga/-yar-da/i),    Gailliarde 


(Fr.)  {gah-yard').      A  favorite  dance   in   | 

time  resembling  the  minuet. 
Gai  (Fr.)   {gay),  Gaja  (It.)  {gay ah),   Gai- 

ment  (Fr.)  {gay-niong),  Gajamente  (It.) 

{  gav-a-men-teh).        Gay;     merry;    gaily; 

merrily. 
Gala     (It.)     {ga/t  -  lah),    di    gala.      Finel)  . 

bravely.     Literally,  in  fine  array. 


CiALAMMENT 


41 


GENTILLE 


Galamment  (Fr.)  { gal-lah-mong) ,  Galante- 
mente  (It.)  {galanl-eh-meti-teli).  Grace- 
fully ;  freely ;  gallantly. 

Galant  (Ger.)  {gah-latit'),  Galante  (Fr.) 
(gah-loiigt),  Galante  (It.)  {gah-/an-te/i). 
Free;  gallant;   graceful. 

Galliard.     See  Gagliarda. 

Galop  (Fr.)  [gah-Io),  Galopade  (Fr. )  {gaio- 
pahd),  Galopp  (Ger.).  A  rapid,  lively 
dance  in  |  time. 

Gamba  (It. )  [the  leg],  (i)  See  Viol di ganiba. 
(2)  An  organ-stop  of  eight-foot  pitch  ;  in 
German,  Gambenstimme. 

Gamma.  The  Greek  letter  g,  F ;  in  ancient 
music  the  letter  G,  first  line  bass  staff;  in 
the  hexachord  system  this  sound  was  called 
gamma  tit,  from  whence  comes  gamut,  a 
scale. 

Gamme  (Fr.)  {ga/im).     A  scale;  gamut. 

Gang  (Ger.).     Passage. 

Ganz  (Ger.)  [gants).  Whole.  Ganze  Note, 
whole  note. 

Garbo  (It. ).     Gracefulness;  refinement. 

Gassenhauer  {Ger.)  {gas-sen-ho7a-er).  Lit., 
running  the  streets.    An  old  dance  in  |  time. 

Gauche  ( Fr.  )  {gazvsh).  Left.  Main 
gauche,  left  hand. 

Gavot   (Fr.)    {gah-vo),  Gavotte    (ga/i-7>o/), 

Gavotta  (It.).      An  old  dance  in  (^  time; 

lively,  yet  dignified.     Frequently  introduced 
in  the  suite. 


G  Clef. 


See  C/ef. 


Gedeckt  (Ger.)  [from  decken,  to  close]. 
Closed  ;  the  stopped  diapason. 

Gedehnt  (Ger.).     Slow  ;  stately. 

Gedicht  (Ger.).     Poem. 

Gade,  N'els  W.  {gah-dek).  Composer;  Den- 
mark.    B.  1817;    d.  1890. 

Gadsby,  H.  R.  Composer;  England.  B. 
1842. 

Galelei,  Vincenzo  {gah-iee-Ieh-ee,  vin-chent- 
zo).  Essayist  and  composer;  Italy.  B. 
1535  ;  d.  16—. 

Galin,  Pierre  {gah-Iong).  Inventorof  numeri- 
cal notation  ;    France.     B.  1786;   d.  1821. 

Galluppi,  Baldessaro  {gah-loop-pee).  Com- 
poser;  Italy.      B.  1706;  d.  1785. 

Gansbacher,  J.  B.  [gehns-bach-er).  Com- 
poser;  Germany.      B.  1778;   d.  1844. 

Ganz,  Wilhelm  {gahnts).  Composer;  Ger- 
many.    B.  1830. 

Garcia,  Manuel  {gar-chee-ak).  Teacher  of 
singing,  inventor  of  laryngoscope ;  Spain. 
B.  1S05  ;   (1   1900. 


Gefallen  (Ger.)  {geh-fal-len).  Pleasure. 
Nach  Gefallen,  at  will.  See  Bene  placito 
and  A  piacere. 

Gefiihl  (Ger.)  {geh-feel).  Feeling.  Mit 
Gefuhl,  with  feeling. 

Gegensatz  (Ger.)  {^  gek-gen-sats).  The 
second  theme  in  a  sonata.  Lit.,  the  against 
or  contrary  theme ;  Hauptsatz  being  the 
chief  or  principal  theme. 

Gehalten  (Ger.)  [geh-kal-ten).  Held;  sus- 
tained ;   tenuto. 

Gehend  (Ger.)  (^^,^-^«</).  Going;  andante. 
Etwas  gehend  (con  moto),  with  motion. 

Geige  (Ger.).     Fiddle;  violin. 

Geigenprincipal.  An  organ-stop  of  8-  or  4- 
foot  pitch. 

Geist  (Ger.).     Spirit;  mind;  genius. 

Geistlich  (Ger.).     Sacred;  spiritual. 

Gelassen  (Ger.).     Tranquil;  calm. 

Gemachlich  (Ger.)  {geh-mehch-Uch).  Easy; 
convenient. 

Gemachlich  commodo.     Not  too  fast. 

Gemassigt  (Ger.)  (geh-mehs-sickt).  Moder- 
ate.     Lit.,  measured. 

Gemshorn.  An  8-  or  4-foot  organ-stop  with 
horn-like  tone. 

Gemiith  (Ger.)  {geh-»ieet').  Heart;  soul; 
feeling. 

Gemiithlich  (Ger.).     Feelingly;  heartily. 

Generator.     Root ;  fundamental  of  a  chord. 

Genere  (It.)  {je'-neh-rek).  Genre  (Fr.) 
[zhongr).     Style;  class;  mode. 

Generoso  (It.)  i^jeh-neh-ro'-so).  Freely; 
frankly. 

Gentille  (Fr.)  {zhong-til).  Gentile  (It.)  {jen- 
tee-leli).  Graceful;  delicate.  Con  genti- 
lezza  (It.)  {jen-iee-le(za),  with  grace; 
nobility. 

Garcia,  Malibran  Maria  F.,  his  sister.  So- 
prano;  Spain.      B.  1808;   d.  1836. 

Gaul,  Alfred  R.    England.     B.  1837. 

Gavanies,  Pierre  {gah-van-yeh).  Violinist ; 
France.     B.  1726  ;  d.  1800. 

Gazzaniga,  Mme.  [gatz-ah-nee-ga/i).  So- 
prano ;   Italy. 

Gelinek,  Joseph  (Abbe)  [geh-lee-iiek).  Com- 
poser;  Austria.     B.  1758;   d.  1825. 

Geminiani,  F.  {geh-niee-nee-ah-nee).  Violin- 
ist, composer;   Italy.      B.  1680;  d.  1762. 

Genee,  R.  {zheh-neh).  Composer;  Dantzig. 
B.  1824;  d.  1896. 

Gevaert,  Frangois  A.  [geh-re/irt).  Organ 
writer;   Netherlands.     B.  1828. 

Gerke,  Anton  (gur-kek).  Teacher;  Ger- 
many.    B.  1814;  d.  1870. 


GERMAN  FLUTE 


42 


GONG 


German  Flute.     See  Flute. 

German  Sixth.     See  Augmented  Sixth. 

Ges  (G§r.).     G  flat. 

Gesang  (Ger.)  {geh-zong^).  Singing  [from 
singen,  to  sing]  ;  song;  melody;   air. 

Gesangverein  (Ger.).     Singing  society. 

Geschmack  (Ger.).  Taste.  Mit  Ge- 
schmack,  with  taste.  Geschmackvoll, 
tasteful. 

Geschwind  (Ger.)  {^gek-skvint').  Fast; 
presto. 

Gesteigert  (Ger.).  Raised;  exalted  in  vol- 
ume ;   louder ;   crescendo. 

Getragen  (Ger.)  {geh-tra-gen).  Sustained. 
[  Tragen,  to  bear  up.]      Sostenuto. 

Gezogen  (Ger.)  {geh-tso-geti)  [from  ziehen, 
to  draw].     Prolonged;  sustained. 

Ghazel  or  Gazel.  A  short  Persian  poem, 
used  by  Hiller  as  a  name  for  short  piano- 
forte pieces,  in  which  a  simple  theme  con- 
stantly occurs. 

Ghiribizzo  (It.)  [gee-ree-lntz^-o).  Whim; 
grotesque. 

Giga  (It.).  Jig;  a  rapid  dance  in  |  time, 
used  as  the  final  movement  in  the  suite, 
where  it  is  often  developed  in  fugue  form. 

Giochevole  (It.)  {jee-o-keh' -vo-leJi) ,  Giocon- 
dosa  (It.)  {^jee-o-kon-do-sa)i),Qi\ozo^o{i\..') 
[jee-o-co-so),  Giocondezza  (It.)  [jee-o-con- 
detza).  Joyful;  merry;  sportive;  happy; 
mirthful. 

Gioja  (It.)  [jeo-ya),  con.     With  joy. 

Giojante  (It.)  {jeo-yan-te/i),  Giojosamente 
(It.)  {jeo-yos-a-f?ien-tek),Q\0]OSO  (It.)  {jeo- 
vo-so).     Joyous ;  mirthfully. 

Gioviale  (It.)  [jeo-ve-ah'-leJi).     Jovial. 

Gernsheim,  F.  [gurns-keim).  Pianist,  com- 
poser, conductor;  Germany.      B.  1839. 

Gerster,  Etelka  {gehrs-ter).  Soprano;  Hun- 
gary.    B.  1855. 

Gibbons,  Orlando.  Composer,  organist ; 
England.      B.  1583  ;  d.  1625. 

Gibbons,  Christopher,  his  son.  Organist ; 
B.  1615  ;   d.  1676, 

Gilchrist,  W.  W.  Composer ;  U.  S.  A.  B. 
1846. 

Gilmore,  P.  F.  Conductor;  Ireland.  B. 
1829;  d.  1890. 

Giordani,  Tomaso  (Jee-07--dah-ttee).  Com- 
poser and  singing  teacher ;  Italy.  B.  1744; 
d.  18—. 

G'mglmi, A.  [jeul-ee-nce).  Tenor;  Italy.  B. 
1826;  d.  1865. 

Gladstone,  F.  E.  Organist,  composer ;  Eng- 
land.    B.  1845;  d.  1892. 

Glareanus,  H.  [glah-reh-ak-mts).  Theorist; 
Germany.     B.  1488;  d.  1563. 


Giovialita     (It.)    {jeo-vee-ak-ke-iak),     con. 
With  joviality. 

Gis  (Ger.)  [ghiss).     G  sharp. 

Giubilio  (It.)  [jew-bee-leo).     Jubilation. 

Giubilioso    (It.)    {jew-bee-Iee-oso).      Jubilant. 

Giustezza    (It.)   i^jews-tet'-za),    con.      With 

exactness. 
Giusto  (It.)  [jezosto).     Strict;  exact. 

Glee.  A  composition  for  three  or  more  voice: 
without  accompaniment.  The  glee  differs, 
from  the  madrigal,  its  predecessor,  in  being 
constructed  more  on  the  harmonic  than  the 
contrapuntal  system  ;  ?'.?.,  admits  dominant, 
dissonances,  and  second  inversions.  The 
glee  is  the  most  distinctive  form  of  English 
music.  The  best  glees  belong  to  the  eigh- 
teenth century  and  the  first  part  of  the  nine- 
teenth. They  have  been  largely  superseded 
by  the  part-song. 

Gli  (It.)  [lee).     The. 

Glide.  (l)  To  connect  two  sounds  by  sliding. 
(2)  A  modern  variety  of  the  waltz. 

Glissando,  Glissato,  Glissicato,  Glissi- 
cando  (It.).  To  play  a  scale  on  the  piano 
forte  by  drawing  the  finger  along  the  key*. 
Only  possible  in  the  natural  scale.  In  violin 
playing,  to  slide  the  tinger  rapidly  from  one 
"  Slop"  to  the  next. 

Glisse  (Fr.)  [glis-seh).      See  Glissando. 

Glisser  (Fr. )  {glis-seli).     To  slide. 

Glockenspiel  (Ger.).  Bell  play;  a  small  in- 
strument consisting  of  bells  tuned  to  tue 
diatonic  scale,  played  by  small  hammers  or 
by  means  of  a  keyboard.  Steel  bars  are 
sometimes  used  in  place  of  bells. 

Gong.  A  pulsatile  instrument  consisting  of  a 
disc  of  bronze,  struck  with  drumstick  with 
soft  head. 

Gleason,  F.  Grant.    Composer;  U.S.A.    B. 

1848;  d.  1903. 
Glimes,  J.  B.  J.  de  {^leem).     Pianist;  Brus 

sels.     B.  1814;  d.'i88i. 

Glinka,  M.  I.  Composer;  Russia.  B.  1804; 
d.  1857. 

Glover,  C.  W.  Composer  of  songs ;  Eng- 
land.    B.  1806;  d.  1863. 

Glover,  Stephen.  Composer  of  songs ;  Eng- 
land.     B.  1812  ;  d.  1870. 

Glover,  Sarah  A.  Founder  of  tonic-sol-fa 
method;  England.     B.  1785;  d.  1867. 

Glover,  William  H.  Composer,  journalist ; 
England.      B.  1819;  d.  1875. 

Gluck,  Ch.  W.  von.  Opera  composer ;  Aus- 
tria.    B.  1714;  d.  1787. 

Godard,  Ben.  L.  P.  (go-dakr).  Composer, 
violinist ;   France.      B.  1849  ;  d.  1S95. 

Goddard,  Arabella.  Pianist ;  England.  B. 
1836. 


GORGHEGGI 


43 


GREGORIAN  CHANT 


Gorgheggi  (It.)  [gor-ghed' -je').  Florid  sing- 
ing, with  runs,  trills,  etc. 

Grace  Note.    See  Appoggiatura . 

Graces.  The  ornamental  notes  first  used  in 
harpsichord  playing  ;  they  are  now  nearly  all 
obsolete,  or  if  used  are  written  in  full  by  the 
composer. 

Gracieux  (Fr.)  [grah-see-oo),  Gracieuse  (Fr.) 
i^grah-see-oos),  Gracile  (It.)  [gra-chee-leh). 
Graceful;   delicate. 

Gradevole  (It.)  [grah-deh'-vo-Ieh).  Grate- 
ful. 

Graduellement  (It. )  [g>-ah-doo-el-)nong).  By 
degreef. 

Gran  cassa  (It.).     Great  drum  ;  long  drum. 

Gran  gusto  (It.),  con.  With  grand  expres- 
sion. 

Gran  tamburo  (It.).     The  big  drum. 

Grand  barre  (P>.).     'iee  Barri. 

Grand  jeu  (Fr.)  {zkeii).  Grand  choeur 
{koiv).      Full  organ. 

Grand  Piano.  Properly,  the  long,  wing- 
shaped  pianoforte  with  keyboard  at  the  wide 
end  ;  commonly  applied  to  all  varieties  of 
piano  with  three  strings  to  each  key. 

Grande  orgue  (Fr.)  {org).     Great  organ. 
Grandezza   (It.)  {gran-det'-za),  con.     With 

grandeur. 
Grandioso  (It.)  {gran-de-o'-sd).     Grandly. 

Grave  [Fr.,  grahv ;  It.,  grah-veh^.  Deep 
in  pitch  ;  slow  ;   solemn. 

Godefroid,  Felix  [gode-frod).  Composer, 
harpist;   France.      B.  iSiS  ;  d.  1897. 

Godfrey,  D.  Dance  writer,  band-master; 
England.      B.  1831  ;  d.  1903. 

Goetz,  H.  Composer;  Germany.  B.  1840  ; 
d.  1876. 

Goldbeck,  Robert.  Composer,  pianist; 
Germany.      B.  1835  ;   d.  1908. 

Goldmark,  Karl.  Composer;  Germany.  B. 
1832. 

Golischmidt,  Otto.  Conductor  and  com- 
poser, husband  of  Jenny  Lind ;  Germany. 
B.  1829;    d.    1907. 

Gollmick,  Adolf.  Composer,  pianist ;  Ger- 
many.     B.  1825  ;  d.  1883. 

Goltermann,  G.  E.    Violoncellist;  Germany. 

rJ.  iS  4;  d.  1898. 

Goovaerts,  A.  I.  M.  A.  {goo-7'ehrts).  Com- 
poser;  Netherlands.      B.  1847. 

Goria,  A.  E.  [go^-ree-a/i).  Pianist;  France. 
B.  1823;  d.  i860. 

Gobs,  Sir  John.  Composer,  organist;  Eng- 
land.    B.  1800;  d.  1880. 

Gossec,  F.  J.  {gos-sek).  Composer;  France. 
B.  1733;  d.  1829. 

Gottschalk,  L.  M.  Pianist;  U.S.A.  B. 
1829;  d.  1869. 


Gravecembalum  (Lat.),Gravicembalo  (It.) 
{gra-z'ee-cliendialo).      The  harpsichord. 

Gravement  (Fr. )  {grahv- inong),  Grave- 
mente  (It.)  {grah-veh-znen-teh).  Slowly; 
seriously. 

Gravita  (It.)  [gra-vee-tah),  con.  With  dig- 
nity. 

Grazia  (It.)  {grat-se-a),  con.  With  grace; 
elegance. 

Grazioso  (It.)  {^grat-si-oso),  Graziosamente 
[grat-si-osa-men-teh  ).  Gracefully  ;  ele- 
gantly. 

Great  Octave.     The  sounds  from 


9t 


-y9- 

Great  Organ.  The  division  of  an  organ  that 
contains  the  most  powerful  stops,  generally 
operated  by  the  middle  keyboard  or  manual, 
the  upper  being  the  swell  organ,  the  lower 
the  choir  organ. 

Greater.  Major;  as,  greater  third,  greater 
sixth.  In  old  usage  the  major  scale  is  called 
the  scale  with  the  greater  third. 

Greek  Music.  The  Greek  system  of  music 
is  still  a  subject  of  controversy  about  which 
very  little  is  known.  The  best  attempts  at 
its  elucidation  may  be  found  in  Chappel's 
"  History  of  Music"  and  Munro's  "  Greek 
Music."      Its  interest  is  purely  antiquarian. 

Gregorian  Chant.     See  Plain  Soig. 

Goudimel,  Claude  {goo'-dee-nicl').  Composer; 
France.      B.  1510;   d.  1572. 

Gounod,  Ch.  F.  (goo -no).  Composer; 
France.      B.  1818;  d.  1893. 

Gouvy,  Theo.  [goo^-vee).  Composer;  France. 
B.  1819;  d.  1898. 

Gow,  Neil.  Violinist,  dance  writer ;  Scot- 
land.     B.  1727;  d.  1807. 

Grancino,  G.  {gran-chee-nd).  Violin  maker; 
Italy. 

Grancino,  P.     Violin  maker.      B.    16 — ;    d. 

17—- 
Graun,   J.    G.       Composer;    Germany.      B. 

1698;  d.  1771. 

Graun,  Karl  H.,  his  brother.  Composer. 
B.  1701;  d.  1759. 

Greatorex,  Th.  Organist,  composer;  Eng- 
land.    B.  1758;  d.  1831. 

Gretry,  A.  E.  [greh-tree).  Composer;  Bel- 
gium.    B.  1741 ;  d.  1813. 

Grieg,    Ed.     {greeg).       Comjioser,     pianist; 

Sweden.      B.  1843  ;  d.   I907. 
Griepenkerl,      F.     C.      (  gree  -  pen  -  kerl  ). 

Theorist;   Germany.     B.  1782;  d.  1849. 
Grisi,    Mme.    {gree-see).      Soprano;     Italy. 

B.  1812;  d.  1869. 
Grove,  Sir  George.      Author  of  dictionary; 

England.      B.  1S20;   d    1900. 


GROPPO 


44 


HALF-TONE 


Groppo  (It.),  Groppetto  (It.).  A  turn  ;  a 
group. 

Grosse  (Ger.)  {gros-seh).  (i)  Major,  ap- 
plies to  intervals.  (2)  Great  or  grand,  as, 
grosse  Sonate.  (3)  An  octave  below  stand- 
ard pitch,  as,  grosse  Nazard,  an  organ  stop 
an  octave  below  the  twelfth. 

Grosse-caisse,  Gros  tambour.    See  Drum. 

Grosso  (It.).  Great;  large;  as,  grosso  con- 
certo. 

Grottesco  (It.)  [grot-les'-ko).  Grotesque; 
comic. 

Ground  Bass.  A  bass  of  four  or  eight  bars, 
constantly  repeated,  each  time  with  varied 
melody  and  harmony.  The  ground  bass 
was  generally  used  as  the  basis  of  the  cha- 
conne  and  passacaglio. 

Group,  (i)  A  series  of  rapid  notes  grouped 
together.  (2)  One  of  the  divisions  of  the 
orchestra,  as  string  group,  brass  group, 
wood  group. 

Gruppo,  Grupetto.      See  Groppo,  Groppetto. 

G-Schliissel  (Ger.)  {gay-shlues-sel).     G  clef. 

Guaracha  (Sp.)  (g7aah-7-ah'-chah) 

Spanish  dance  in  triple  time. 

Guerriero    (It.)     {g7ver-ree¥ 

warlike. 
Guida  (It.)  [g7vee-da/i) 

of  a  canon  or  fugue. 

Guidonian  Hand.  A  diagram  consisting  of 
a  hand,  with  the  syllables  written  on  the 
tips  of    the   fingers   and  on   the  joints,  in- 

Griitzmacher,  r.  [greetz-»iac/ier).  Violon- 
cellist;  Germany.      B.  1832;  d.  1903. 

Guarnerius,  A.  {gwar-neh-ree-us).  Violin 
maker;  Italy.     B.  1683;  d.  1745. 

Guglielmi,  P.  {  gool-yel-niee).  Composer; 
Italy.     B.  1727 ;  d.  1804. 

QiM\.Ao[^g7vee-Jo).    Theorist;  Italy.    Eleventh 

century. 
Guilmant,    F.    A.    {geel-mong).      Organist, 

composer;   France.     B.  1837. 


A  lively 
7-0).      Martial; 
Guide  ;   the  subject 


tended  to  assist 
chord  scales. 


in  memorizing  the  hexa- 


Guidonian  Syllables.  The  syllables  applied 
by  Guido  to  the  notes  of  the  hexachord,  itt, 
re,  mi,  fa,  sol,  la.  When  the  octave  scale 
was  adopted  si  was  added  for  the  seventh 
note  ;  ut  was  changed  to  do  as  a  better  syl- 
lable for  vocalizing. 

Guitar.  A  string  instrument  with  fretted 
fingerboard,  played  by  plucking  the  strings 
with  the  fingers  of  the  right  hand,  one  of 
the  oldest  and  most  widespread  of  instru- 
ments. It  probably  originated  in  Persia, 
where  it  is  called  tar  or  si-tar,  passed  from 
thence  to  Greece,  and  to  the  rest  of  Europe 
and  North  Africa.  The  guitar  now  in  gen- 
eral use  is  called  the  Spanish  guitar.  It 
has  six  strings  tuned  thus:  — 


X 


m 


but  their  actual  sound  is  an  octave  below 
the  written  notes. 

Gusto  (It.),  con.     With  taste. 

Gustoso.     Tastefully. 

Gut.  The  material  (sheep's  entrails)  of 
which  violin,  guitar,  and  other  strings  are 
made,  commonly  called  catgut. 

QvlX  [Ger.)  {goot).  Good.  Guter  Taktteil, 
lit. ,  good  bar  part ;  the  accented  part  of  the 
bar. 

Guiraud,  E.  [g7vec-ro).  Composer;  France. 
B.  1837  ;   d.  1892. 

Gungl,  J.  [goongl).  Dance  writer;  Bo- 
hemia.    B.  1810;  d.  1S89. 

Gurlitt,    C.      Pianist,    composer ;     Germany. 

B.  1820 ;   d.  1901. 
Gutmann,   A.-      Composer ;    Germany.       B. 

1818;  d.  1882. 
Gyrowetz,     A.     { gee-ro  -7'e/z).       Composer; 

Bohemia.      B.  1763;   d.  1850. 


H 


H.  Abbreviation  for  Hand.  Hah  (Ger.), 
the  note  BJJJ,  Bj2  being  called  B  [iay).  It 
is  this  system  of  nomenclature  that  makes 
possible  the  fugues  on  the  name  of  Bach, 
written  by  Bach,  Schumann,  and  others: — 


i 


-^- 


'«'- 


-g- 


is: 


A         C         H 

Literally,  chopping-board. 

Halb  ((^ler.)  {lialp).     Half. 


Hackbrett  (Ger.). 
The  dulcimer. 


Halbe  Cadenz  (Ger.).     Half  cadence. 
Halbe  Note.     Half-note. 
Halber  Ton.     Half-tone. 

Half-Note.     |^ 

Half-Rest.     — 

Half- Shift.  On  the  violin,  the  position  of 
the  hand  between  the  open  position  and  the 
first  shift. 

Half-Step.      Half-tone. 

Half- Tone.  The  smallest  interval  in  modem 
music. 


liALLKLUjAH 


45 


HARMONIUM 


Hallelujah  (Ileb.).  The  Greek  form  Alle- 
luia is  often  used       '•  I'raise  ye  Jehovah." 

Hailing.     A  Norwegian  dance  in  triple  time. 

Hals  (Gar.).     Neck,  as  of  violin,  guitar,  etc. 

Hammerklavier  (Ger.).  A  name  for  the 
P.  F.  (used  by  Beethoven  in  the  great 
sonata,  Op.  io6). 

Hanacca.  A  Moravian  dance  in  |  time, 
somewhat  like  the  polonaise. 

Hardiment  (Fr.)  {/iar-dee-iiiong).      Boldly. 

Harmonic  Flute.     See  Flute. 

Harmonic  Scale.  The  series  of  natural 
harmonics;  the  scale  of  all  brass  instru- 
ments without  valves  or  pistons. 

Harmonic  Stops.  Organ-stops  with  pipes 
of  twice  the  standard  length  pierced  with 
a  small  hole  at  the  middle,  causing  them  to 
sound  the  first  overtone  instead  of  the  sound 
that  tlie  whole  length  would  produce. 

Harmonica,  (l)  An  instrument  invented  by 
Benjamin  Franklin,  the  sounds  of  which 
were  produced  from  glass  bowls.  (2)  An 
instrument  consisting  of  plates  of  glass 
struck  by  hammers.  (3)  A  mixture-stop 
in  the  organ. 

Harmonici  (Gr.)  {har -  tjion-i-kee).  The 
followers  of  Aristoxenus,  as  opposed  to  the 
Canonici  (ka-noii-i-kee),  the  followers  of 
Pythagoras.  The  former  taught  that  music 
was  governed  by  its  appeal  to  the  ear,  the 
latter  that  it  was  a  matter  for  mathematical 
and  arithmetical  study  only. 

Harmonicon.  A  toy  instrument  with  free 
reeds,  blown  by  the  mouth. 

Harmonics,  Overtones,  Partial  Tones. 
(l)  The  sounds  produced  i)y  the  division  of 
a  vibrating  body  into  eijual  parts  ;  it  is  upon 
the  presence  or  absence  and  relative  in- 
tensity of  the  overtones  that  the  quality  of 
the  sound  depends.  Open  pipes,  strings, 
brass  instruments,  and  instruments  with 
double  reed  (bassoon  and  hautboy)  give  the 
following  series  : — 

123456     789 
C  CGCEGBI2CDE,  etc. 

generator       2345     6     7      ssio 
Closed  pipes  and  beating  reeds  (clarionet) 

Habeneck,  F.  A.  Violinist,  conductor ; 
France.     B.  1781  ;  d.  1849. 

Haberbier,  Ernst  {hah'-behj--heer).  Pianist, 
composer;   Germany.      B.  1813  ;  d.  1869. 

Hale,  Adam  de  la  [hahl).  Troubadour; 
France.      B.  1240;  d.  1287. 

Halevy,  J.  F.  {kak-leh-vee).  Composer; 
France.      B    1799;   d.  1862. 

Halle,  Sir  Ch.  [hal-leh).     Pianist,  conductor; 

Hagen.      B.  1819  ;   d.  1896. 
Halm,  A.    [haluii).      Pianist,  composer.      B. 

1789;  d.  1872. 

Hamerik,  Asgar.  Composer;  Denmark.  B. 
1843. 


omit  all  the  even  numbers  in  this  series. 
(2)  The  sounds  produced  on  the  violin  by 
touching  the  string  lightly  at  one  of  the 
points  of  division ;  those  produced  by  thus 
touchihg  the  open  string  are  called  natural 
harmonics.  Artificial  harmonics  are  pro- 
duced by  stoppnig  the  string  with  the  first 
finger  and  touching  it  lightly  with  the 
fourth,  at  the  interval  of  a  fourth  above ; 
the  resulting  harmonic  is  two  octaves  above 
the  stopped  note.  In  writing  music  this  is 
indicated  by  writing  thus: — 

-6^         -^       -#■ 


I 


Effect. 
Flayed. 

The  lozenge-shaped  notes  indicate  the  notes 
to  be  lightly  touched.  Natural  harmonics 
are  frequently  used  on  the  harp,  guitar,  and 
mandolin. 
Harmonie-Musik  (Ger.).  Harmony  music  ; 
music  for  wind  instruments.  A  band  com- 
posed of  brass  and  wood  instruments  is 
called  a  harmony  band. 

Harmonist.  One  who  is  an  expert  in  the 
art  of  harmony. 

Harmonium.  A  keyboard  instrument  with 
free  reeds.  It  differs  from  the  reed  organ  in 
that  the  air  is  forced  through  instead  of 
drawn  througli  the  reeds,  giving  a  stronger, 
rougher  quality  of  tone.  In  harmonium 
music,  published  in  Europe,  the  stops  are  in- 
dicated by  figures  placed  in  a  circle.  Each 
stop  is  divided  at  the  middle.  The  figure 
in  circle,  placed  below  the  bass  stall,  refers 
to  the  lower  half  of  the  stop ;  above  the 
treble  staff,  to  the  upper  half.  The  cor  an- 
glais and  flute  form  one  stop,  marked  \}j 
below  for  cor  anglais,  |ij  above  for  flute. 

2  means  bourdon,  below  ;  clarionet,  above. 

3  "       clarion,        "  piccolo,  " 

4  "      bassoon,     "  hautboy,        " 

Handel,  G.   F.     Composer;    Germany.     B. 

1685;  d.  1759. 
Hanslick,  i:d.     Critic;  Bohemia.     B.  1825  ; 

d.  1904. 

Hardegen,  J.  von.  Composer,  pianist ;  Aus- 
tria.    B.  1834;  d.  1867.    (Jules  Egghard.) 

Hartnock,  Carl  E.  Pianist.  B.  1775;  d. 
1834. 

Hartog,  Edward.  Pianist,  composer ;  Hol- 
land.    B.  1828. 

Hartvigson,  Anton.  Pianist,  composer ;  Swe- 
den.    B.  1845. 

Hartvigson,  Fritz.  Pianist,  composer ;  Swe- 
den.    B.  1851. 


HARMONY 


46 


HEPTACHORD 


.Harmony  [from  Or.,  hanno,  to  join].  The 
art  of  combining  sounds.  The  study  of 
harmony  in  its  fullest  extent  is  that  which 
treats  of  the  combination  of  sounds,  conso- 
nant and  dissonant,  and  their  succession. 
The  so-called  laws  of  harmony  have  all  been 
arrived  at  empirically,  hence  have  been  sub- 
ject to  change,  each  new  composer  of  suffi- 
cient originality  and  genius  modifying  them 
to  suit  his  purposes.  Harmonic  combina- 
tions may  be  either  consonant  or  dissonant. 
The  consonant  combinations  consist  of  the 
common  (perfect)  chord  and  its  derivatives. 
The  dissonant  combinations  all  include 
some  dissonant  interval,  viz.,  7th  or  2d, 
augmented  4th,  diminished  or  augmented 
5th,  augmented  6th  or  diminished  3d,  or 
9th.  The  movement  of  consonant  combi- 
nations is  perfectly  free ;  that  of  dissonant 
combinations  is  subject  to  the  rules  govern- 
ing the  resolution  of  the  dissonant  sounds 
they  contain.  Two  classes  of  dissonances 
are  recognized:  (l)  Those  that  belong  to 
the  overtone  series, called  essential;  (2)  those 
that  result  from  the  employment  of  suspen- 
sions, retardations,  changing  and  passing 
notes. 

Harp.  A  string  instrument  of  very  ancient 
origin,  probably  first  suggested  by  the  bow. 
The  earliest  forms  of  ligyptian  harps  resemble 
that  weapon,  the  tront  bar  or  support  being 
wanting.  The  modern  harp,  by  means  of 
conirlvances  for  altering  the  tension  of  the 
strings,  controlled  by  pedals,  has  the  com- 
plete chromatic  scale.  The  harp  is  exten- 
sively used  in  the  modern  orchestra ;  its 
clear,  "glassy"  tones  form  a  striking  and 
effective  contrast  to  the  rest  of  the  orchestra. 
It  is  most  effective  when  used  to  give  "  ar- 
peggios," or  broken  chords,  particularly  in 
soft  passages.  Scales  are  ineft'ective  on  the 
harp,  and  the  chromatic  scale  is  impossible. 
The  compass  of  the  modern  harp  extends 
from  the  second  C'l?  below  the  bass  staff  to 

Haslinger,  Tobias.  Composer,  publisher ; 
Austria.      B.  1787  ;  d.  1842. 

Hasse,  Faustina  {/las-seh).  Soprano  ;  Italy. 
B.  1700 ;   d.  1783. 

Hasse,  J.  A.,  her  husband.  Composer;  Sax- 
ony.    B.  1699;  d.  1783. 

Hatton,  John  L.  Composer;  England.  B. 
1809;  d. 1886. 

Hauck,  Minnie  {hozvk).  Soprano ;  U.  S.  A. 
B. 1852. 

Haupt,    Carl    {hotvpf).     Theorist,    organist; 

Germany.      B.  1810;   d.  1891. 
Hauptmann,  'i^lor'iX.z  {kowpt-man).   Theorist, 

teacher;  Germany.     B.  1792;  d.  1868. 
Haweis,    Rev.   H.    R.     Essayist;    England. 

B.  1S38  ;  d.  190 1. 
Haydn,  Josef  {kigkdn).  Composer;  Austria. 

B.  1732;  d.  1809. 


the  second  FI2  above  the  treble  staff,  six  and 
one-half  octaves.  The  natural  harmonics, 
produced  by  touching  the  middle  of  the 
string  lightly  with  one  hand,  are  extremely 
effective  in  very  soft  passages. 

Harpe  (Fr.),  Harfe  (Ger.).     The  harp. 

Harpsichord,  Harpsicol,  Clavicin  (Fr.), 
Cembalo  (It.),  Clavicembalo  (It.), 
Fliigel  (Ger.).  A  string  instrument  wiih 
keyboard,  in  shape  like  the  modern  grnnd 
piano.  The  sound  was  produced  by  pieces 
of  quill,  leather,  or  tortoise-shell,  which 
scratched  across  the  strings  when  the  keys 
were  struck.  Haipsichords  were  often  made 
with  two  rows  of  keys  and  with  stops,  by 
means  of  which  the  tone  might  be  modi- 
fied. 

Haupt  (Ger.)  [ho-u>pt).  Head  ;  chief;  prin- 
cipal. 

Hauptmanuel.     Great  organ. 

Hauptnote.  Essential  note  in  a  turn,  mor- 
dent, etc. 

Hauptsatz.  Principal  theme  in  a  sonata  or 
rondo,  etc. 

Hauptwerk.     Great  organ. 

Hautbois  (Fr.)  {Jiote-boa').     See  Oboe. 

Hautbois  d'amour.  A  small  variety  of  the 
hautboy. 

H  dur  (Ger.).     B  major. 

H  moll  (Ger.)  [hah  moll').     B  minor. 

Head.  The  membrane  of  a  drum ;  the  peg- 
box  of  violin,  guitar,  etc. 

Head  Voice.     See  Voice.  ' 

Heftig  (Ger.).  Impetuous.  Literally,  heav- 
ily. 

Heimlich  (Ger.).     Mysteriously;  secretly. 

Heiss  (Ger.).     Ardent. 

Heiter  (Ger. ).      Clear;  calm. 

Heptachord  [Gr. ,  hepta,  seven;  horde, 
string].  A  scale  or  lyre  with  seven  diatonic 
sounds. 

Haydn,   Michael.      Composer;    Austria.      B. 

1737;   d.  1806. 
Hayes,   Catherine.      Soprano ;    Ireland.      B. 

1825;  d.  1861. 
Hegner,  Otto.     Pianist.     B.  1877. 
Heller,  Stephen.      Pianist,   composer;   Pesth. 

B.  1814;  d.  1888. 
Helmholtz,   H.   L.  F.      Acoustician ;    Ger- 
many.    B.  1821  ;   d.  1894. 
Henkel,  H.     Pianist,  teacher,  composer.     B. 

1822 ;  d.  1899. 
Hennes,  Aloys.  Teacher,  pianist ;  Germany. 

B.  1827;  d.  1889. 
Henrion,    Paul    (Jwng-ree-ong).       Composer, 

pianist;  France.     B.  1819. 
Henschel,  Geo.    Composer,  singer,  conduct- 

or;  Germany.     B.  1850. 


HERABSTRICH 


47 


IIVMX  TLXK 


Herabstrich  or  Herstrich  (Ger.).  Down 
bow. 

Heraufstrich  or  Hinaufstrich  (Ger).  Up 
laovv. 

Hidden  Fifths  or  Octaves.  Called  also 
concealed.  These  occur  when  two  parts  or 
voices  take  a  5th  or  8th  in  parallel  motion. 


The  rule  forbidding  hidden  5ths  and  Sths  is 
now  very  little  regarded. 

His  (Ger.).     B  sharp. 

Hoboe,  Hoboy.     See  Oboe. 

Hochzeitsmarsch  (Ger.)  [hoch-tseits).  Liter- 
ally, high  time.      A  wedding  march. 

Hohlflote  (Ger.)  [Jiole-fla-teh).  Hollow  flute; 
an  organ-stop  of  8-foot  tone,  soft,  full  qual- 
ity ;  a  stop  of  the  same  character  a  fifth  above 
the  diapason  is  called  Hohlquinte  (kvin- 
teh). 

Holding  Note.  A  sustained  note ;  a  pedal 
point. 

Homo'phony,  Homo''phonic,  Homo''- 
phonous  [Gr. ,  homo,  one  or  single; 
phonos,  sound].  Music  in  which  one  part 
(melody)  is  the  most  important  factor,  the 
remaining  parts  being  entirely  subsidiary, 
that  is,  simply  accompaniment. 

Horn  [It.,  Corno ;  Fr. ,  Cor ;  Ger.,  Horn  or 
IViildhorn^  A  generic  term  for  instruments 
of  brass  or  other  metal,  wood,  or    animal 

Henselt,  A.     Composer,  pianist;   Germany. 

B.  1814;  d.  1889. 
Hering,  Carl  G.   Teacher,  pianist ;   Germany. 

B.  1765;  d.  1853. 

Herold,  Louis  J.  F.  {Jieh-rold ).  Composer; 
Prance.      B.  179I  ;   d.  1833. 

Herz,  Henry  [herfs).  Pianist ;  Austria.  B. 
1806  ;  d.  1888. 

Hesse,  Ad.  F.  [hes-seh).  Organist;  Ger- 
many.     B.  1809  ;  d.  1863. 

Heuschkel,  J.  P.  [hoysh-kel).  Pianist, 
teacher;   Germany.      B.  1773;   d.  1853. 

Hiller,  Ferd.  Composer,  conductor,  pianist; 
Frankfort.      B.  1811  ;  d.  1885. 

Hiller,  Johann  A.  Conductor,  composer; 
Gorlitz.      B.  1728  ;  d.  1804. 

Himmel,  F.  H.  Composer;  Germany.  B. 
1765;  d. 1814. 

Hofmann,  H.  Composer,  pianist;  Germany. 
B.  1S42 ;  d.  1902. 


horns  sounded  by  means  of  a  cup-shaped 
mouth-piece.  In  modern  usage  applied  only 
to  the  orchestral  horn,  called  also  French 
horn.  A  brass  instrument  with  a  long,  nar- 
row tube  bent  into  a  number  of  circular 
curves,  with  a  large  bell.  The  modern  horn 
is  provided  with  pistons,  whicli  make  it  a 
chromatic  instrument.  The  custom  is  now 
almost  universal  of  using  tiie  horn  in  F,  the 
part  for  which  is  written  a  fifth  higher  than 
the  actual  sounds.  Before  the  application 
of  pistons  to  the  horn  its  part  was  always 
written  in  C,  and  the  key  was  indicated  by 
writing:  Corni  in  Bj?  or  Ej?,  etc.,  as  the  case 
might  be.  Many  composers  retain  this 
method  of  writing,  but  the  horn-players 
generally  transpose  the  part  ,  T'istci  to  suit 
the  F-horn. 

Horn  Band.  In  Russia,  a  band  of  performers, 
each  one  of  whom  plays  but  one  sound  on 
his  horn. 

Hornpipe.  An  old  English  dance  of  a  lively, 
rapid  character. 

Horn-Sordin  (Ger.).  A  contrivance  placed 
in  the  mouth  of  the  horn  to  deaden  the 
tone. 

Humoresque  {¥r.)[oo-mo-resk),  Humoreske 
(Ger.).  A  caprice  ;  humorous  fantastic  com- 
position. 

Hunting  Horn  [Fr.,  Cor  Je  Chasse :  It., 
Corno  di  Caccia\.  The  horn  from  which 
the  orchestral  horn  was  developed. 

Hymn  Tune.  A  musical  setting  of  a  religious 
lyric  poem,  generally  in  four  parts. 

Hofmann,  Joseph.  Composer,  pianist ;  Ger- 
many.     B.  1877. 

Hoi,  Richard.  Composer,  jiianist.  B.  1S25; 
d.  1885. 

Horsley,    Wm.       Composer;     England.      B. 

1774;   d.  1858. 

Horsley,  Ch.  E.,  his  son.  Composer;  Eng- 
land.     B.  1821  ;   d.  1876. 

Huber,  Hans.  Pianist,  teacher ;  Germanv. 
B. 1852. 

Hucbald.  Theorist ;  Flanders.  Tenth  cen- 
tury. 

Hullah,  John  P.  Teacher  of  singing,  com- 
jioser ;    England.      B.  1812;   d.  1884. 

Hiillmandel,  N.  [heei-?)ian-de/).  Pianist, 
composer;  Alsace.      B.  1751  ;  d.  1823. 

Hummel,  J.  N.  Composer,  pianist;  Press- 
burg.     B.  1778;  d.  1837. 

Hiinten,  Franz.  Composer,  teacher ;  Ger 
many.     B.  1793;  d.  1878. 


IDEE  EIXEE 


INSTRUiMENT 


[dee  fixee  (Fr.)  {e-deh  fix-efi).  Hxed  idea; 
a  name  given  by  Berlioz  to  a  short  theme 
used  as  the  principal  motive  of  an  extended 
composition. 

Idyl  [Fr.,  Jdylle ;  Gr.,  Eidullion^.  A  small 
image  or  form ;  a  short,  tender  piece  of 
music  generally  of  a  pastoral  character. 

II  piu  (It.)  [eel  peii).  The  most.  II  piu 
forte  possibile,  as  loud  as  possible. 

Imitando  (It.).  Imitating;  as,  Imitando  la 
voce,  imitating  the  voice  ;  a  direction  to  the 
instrumentalist  to  imitate  the  vocalist. 

Imitation.  A  device  in  counterpoint ;  a 
musical  phrase  being  given  by  one  voice  is 
immediately  repeated  by  another  voice. 
There  are  many  varieties  of  imitation  :  (i) 
By  augmentation,  when  the  imitating  part 
is  in  notes  of  twice  or  four  times  the  value 
of  those  in  the  theme.  (2)  By  diminution, 
wlien  the  value  of  the  notes  is  reduced  one- 
half  or  one-fourth.  (3)  By  inversion,  when 
the  intervals  are  given  by  the  imitating  part 
in  inverted  order.  Imitation  is  called  Can- 
onic when  the  order  of  letters  and  intervals 
is  exactly  repeated,  thus  : — 


C  D  E  F 


G  A  B  C 


Strict,  when  the  order  of  letters  only  is  re- 
peated, as  : — 


CD  E  F 


A  BC  D 


Free,  when  the  theme  is  slightly  altered,  but 
not  enough  to  destroy  the  resemblance. 
The  theme  is  called  the  antecedent ;  the 
imitation,  the  consequent.  There  are  other 
varieties  of  imitation,  but  they  are  now  gen- 
erally obsolete,  being  more  curious  than 
musical. 
Immer  (Ger.).     Ever;  continuously;  always. 

Impaziente  (It.)  (ini-pah-tse-en-teh).  Im- 
patient :  restless. 

Impazientemente  (It.).  Vehemently;  im- 
patiently. 

Imperfect  Cadence.    Same  as  Half  Cadence. 

Imperfect  Consonance.  Major  and  minor 
thirds  and  sixths. 

Imperfect  Fifth.     The  diminished  fifth. 

Imperioso  (It.).    Imperiously;   with  dignity. 

Impeto  (It.)  [im^-peh-to),  con.  With  impetu- 
osity. 

Impetuoso  (It.),  Impetuosamente  (It.). 
Impetuously. 

Implied  Intervals.  Those  not  expressed  in 
the  figuring. 

Incledon,  Ch.  B.  Tenor;  England.  B. 
1763 ;  d.  1826. 


Imponente  (It.)  {im'-po-nen-teh).  Emphatic; 
pompous. 

Impromptu.  (l)  An  extemporaneous  per- 
formance. (2)  A  piece  of  music  having  the 
character  of  an  extemporaneous  perform- 
ance. 

Improvisation.     Unpremeditated  music. 

Improvise.      To  play  unpremeditated  music. 

Improviser  (Fr.)  (im-pro-vee-se/i),  Improv- 
visare  (It.).     To  extemporize. 

Improvvisatore  (It.).    An  improviser  (male). 

Improvvisatrice  (It.)  {itn- prov-vi-sa-tree- 
clieli).     An  improviser  (female). 

In  alt  (It.).  The  notes  in  the  first  octave 
above  the  treble  staff 

In  altissimo  (It.).  All  notes  above  the 
octave  in  alt. 

In  nomine  (Eat.).     In  the  name;   a  sort  of 

free  fugue. 
Incalzando  (It.)  [in-cal-tsan-do).     To  chase; 

pursue    hotly,    with    constantly    increasing 

vehemence. 

Indeciso  (It.)  [indeh-chee-so).  With  inde- 
cision ;  hesitating. 

Infinite  Canon.     See  Canon. 

Inganno  (It.  ).  Deceptive.  Cadenza 
inganno,  deceptive  cadence. 

Inner  Parts.  The  parts  that  are  neither  at 
the  top  nor  the  bottom,  as  the  alto  and  tenor 
in  a  chorus. 

Inner  Pedal.  A  sustained  note  in  an  inner 
part. 

Innig  (Ger. ).      Fleartfelt ;   fervent. 

Innigkeit  (Ger.),  mit.     With  fervor;  intense 

feeling. 

Inniglich  (Ger.).      See  Innig. 
Inno  (It.).     Hymn. 

Innocente  (It.)  [in-no-c/ien'-teii),  Inno- 
centemente.     Innocent ;   natural. 

Innocenza  [inno-c/ient'-sa/i),  con.  With 
artlessness. 

lT\(\\i\Gto  (\l.)  {iu-qiiee-e/i-to).  Unquiet;  rest- 
less. 

Insensibile  (It.)  (in-sen-si-bee-leJC),  Insen- 
sibilmente  (It.).  By  imperceptible  degrees; 
gradually. 

Insistendo  (It.),  Instante  (It.),  Instandig 
(Ger.).     Urgent;  pressing. 

Instrument.  Any  mechanical  contrivance 
for  the  production  of  musical  sounds. 
Instruments  are  classified  as  follows  :  Siring 
instruments,  wind  instruments,  pulsatile  in- 

Isouard,  Nicolo  (^'-f(ici-ar).  Composer;  Malta. 
B.  1775;  d.  1S18. 


INSTRUMENTATION 


49 


INTRODUCTION 


struraents.  String  instruments  are  divided 
into  bow  instruments,  violin  class ;  instru- 
ments the  strings  of  which  are  plucked  by 
the  fingers — harp,  guitar,  etc. ;  plectral,  /.  e., 
the  strings  struck  by  a  rod  or  thin  strip  of 
wood,  metal,  etc.,  as  mandolin,  zither; 
strings  struck  by  hammers  held  in  the  hand- 
cymbal  ;  strings  struck  by  hammers  operated 
by  keyboard — piano-forte.  Wind  instru- 
ments are  divided  as  follows:  (l)  Vibrat- 
ing column  of  air — flutes  and  flue-stops  of 
organ.  (2)  Single  reed — clarionet,  saxo- 
phone, basset  horn,  reed-stops  in  the  organ. 
(3)  Double  reed — oboe,  bassoon.  (4)  Free 
reed — harmonium,  vocalion,  cabinet  organ. 
(5)  Brass  instruments  in  which  the  lip  of 
the  player  acts  as  a  reed — trumpet,  horn,  etc. 
Pulsatile  instruments  — -  drums,  triangles, 
cymbals,  bells,  xylophone.  The  small  or 
chamber  orchestra  includes  the  following 
instruments:  String  —  first  violins,  second 
violins,  violas,  violoncellos,  contrabassi. 
Wood- wind  —  pair  of  flutes  (It.,  fl.anti'), 
pair  of  hautboys  (It.,  oboi),  pair  of  clario- 
nets (It.,  clarionetti),  pair  of  bassoons  (It., 
fagotti).  Brass- wind  —  pair  of  trumpets 
(sometimes  omitted)  (It.,  clarhii),  pair  of 
horns  (It.,  corni),  pair  of  kettle-drums 
(It.,  timpani).  The  adilition  of  three 
trombones  changes  this  to  the  full  or  grand 
orchestra,  which  is  often  augmented  by  the 
addition  of  the  following  instruments : 
Wood- wind  —  piccolo  or  octave  flute,  Eng- 
lish horn  (It.,  corno  IngLse),  alto  or  bass 
clarionet,  double  bassoon  (It.,  contra  fa- 
gotto). In  the  brass  quartet  the  horns  are 
increased  to  four,  and  the  alto,  tenor,  and 
bass  trombones  are  added  and  the  bass 
trombone  reinforced  by  the  bass  tuba. 
Three  or  more  kettle-drums  are  frequently 
employed,  also  the  following  pulsatile 
instruments:  large  drum,  snare  drum,  tri- 
angle, and  cymbals.  The  harp  has  almost 
become  an  essential  in  the  modern  orchestra, 
whether  large  or  small. 

Instrumentation.  The  art  of  using  a  num- 
ber of  instruments  in  combination ;  the 
manner  of  arranging  music  for  the  orches- 
tra. 

Instrumento  or  Stromento  (It.).  An  instru- 
ment. 

Instrumento  or  Stromento  di  corda  (It.). 
String  instrument. 

Instrumento  or  Stromento  di  fiato  (It.). 
Wind  instrument. 

Interlude,  Intermede  (Fr.)  {in-ter-tiiade), 
Intermedio  (It.)  {i>i-ter-nteh-deo).  A  short 
piece  of  music  between  the  acts  of  a  drama 
or  the  verses  of  a  hymn. 

Intermezzo  (It.)  {iu-ter-mrdzo).  An  inter- 
lude ;  a  short  movement  connecting  the 
larger  movements  of  a  symphony  or  sonata. 

Interrupted  Cadence.     See  Cadence. 

4 


Interval.  The  difterence  in  pitch  betweei 
two  sounds.  i'he  name  of  an  interval  is 
determined  by  the  number  of  letters  it 
includes  (counting  the  one  it  begins  with 
and  the  one  it  ends  with).  Seconds 
may  be  minor  (E,  F),  major  (E,  F?), 
augmented  (EJ2,  F#).  Thirds  maybe  minur 
(E,  G),  major  (E,  Gif),  diminished  ( E, 
G^).  Fourths  may  be  perfect  (E,  A), 
augmented  (E,  A#),  diminished  (E,  AJZ). 
The  inversion  of  an  interval  produces  one 
of  the  opposite  kind  except  when  it  is  jjer- 
fect.  Inversion  of  minor  2d  produces 
major  7th,  and  since  all  intervals  lie 
within  the  octave,  and  the  octave  con- 
tains twelve  half-tones,  it  follows  that  an 
interval  and  its  inversion  must  together 
make  an  octave  or  twelve  half-tones.  In- 
tervals are  further  divided  into  consonant 
and  dissonant,  the  consonant  into  perfect 
and  imperfect.  The  perfect  consonances 
are  the  4th,  5th,  and  octave.  They  are  called 
perfect  because  any  alteration  of  them  pro- 
duces a  dissonance.  The  imperfect  conso- 
nances are  the  major  and  minor  3d  and  6th, 
called  imperfect  because  equally  consonant 
whether  major  or  minor.  All  other  inter- 
vals are  dissonant,  that  is,  one  or  both  the 
sounds  forming  them  must  move  in  a  cer- 
tain direction  to  satisfy  the  ear.  If  the  dis- 
sonant is  minor  or  diminished  the  sounds 
must  approach  each  other  ( except  minor 
2d) ;  if  major  or  augmented  they  must  sep- 
arate (except  major  7th,  which  may  move 
either  way).  Intervals  are  augmented  when 
greater  than  major  or  perfect.  Intervals  are 
diminished  when  less  than  major  or  perfect. 
The  prime  or  unison  is  often  called  an  in- 
terval and  if  altered,  as,  C  C,*,  is  called  an 
augmented  unison  or  prime ;  it  is  more 
properly  a  chromatic  semitone.  Natural 
intervals  are  those  found  in  the  major  scale. 
Chromatic  intervals  are  those  found  in  the 
harmonic  minor  scale  and  in  chords  that 
include  sounds  foreign  to  the  scale  or  key. 

Intimo  (It.)  [in'-tec-mo).  Heartfelt;  with 
emotion. 

Intonation,  (i)  The  correctness  or  incor- 
rectness of  the  pitch  of  sounds  produced 
by  the  voice  or  by  an  instrument.  (2) 
The  notes  which  precede  the  reciting  notes 
of  the  Gregorian  chant. 

Intoning.     In  the  Anglican  Church  the  sing- 
ing of  prayers,  etc.,  in  monotone. 
Intrada  (It.).      An  introduction  or  interlude. 

Intrepido  (It. )  [in-tre-pee-do],  Intrepidezza, 
con  (It.)  {in-trek-pee-detza),  Intrepida- 
mente  (It.)  \in-trehpee-da  men-teh).  Bold- 
ly ;   with  daring  ;  dashingly. 

Introduction.  A  preparatory  movement  to 
a  piece  of  music,  symphony,  oratorio,  etc., 
sometimes  very  short,  sometimes  a  long, 
elaborate  movement  in  free  style. 


INTKODUZIONE 


50 


JUST  INTONATION 


Introduzione  (It.)  {in-tro-doo-tse-onch).  In- 
troduction. 

Introit.  A  short  anthem  sung  before  the  ad- 
ministration of  tlie  communion  in  the  Pro- 
testant Episcopal  Churcli ;  in  the  Roman 
Catliohc  (Jhurcli  before  the  celebration  of 
the  mass. 

Invention.  A  name  given  by  Bach  to  a  set 
of  thirty  pieces  in  contrapuntal  style. 

Inversion.  (l)  Of  intervals.  See  Inferr'al. 
(2)  Of  chords,  when  any  member  of  the 
chord  but  the  root  is  used  as  a  bass.  (3) 
Of  themes.      See  Imitation. 

Ira  (It.)  [e-rah),  con.  With  anger. 


Irate  (It.)  (e-rak'-to).     Angrily. 

Irlandais  (Fr.)  {ir-lan-day).   In  the  Irish  style. 

Ironico     (It.)     [e-ron'  -e-co).    Ironicamente 

(It.).      Ironically;  sardonically. 
Irresolute  (It.)  (ir-reh-so-lu'-to).  Undecided  ; 

irresolute. 
Islancio     (It.)      (is-lan'-chee-o).      Same     as 

Slancio. 
Istesse  (It.).     Same.     L'istesso  tempo,  the 

same  time,  i.  e.,  rate  of  movement. 

Italian  Sixth.     See  Aiigi/iented  Sixth. 

Italienne    (Fr.)    (e-ta-lee-en),   Italiane   (It.) 
{e-tal-yah-no).     In  Italian  style. 


Jack.  The  short,  upright  piece  of  wood  at 
the  end  of  the  key  of  the  harpsichord  or 
spinet,  to  which  the  quill  was  attached  which 
struck  the  strings. 

Jagdhern  (Ger. )  ( yagd-horn) .    Hunting  horn . 

Jagerchor  (Ger.)  [yay-ger-kore).  Hunting 
chorus. 

Jalee  (Sp.)  [liah-leh-6).  A  Spanish  dance  in 
triple  time. 

Janke  Keyboard  i^yanko).  The  invention  of 
Paul  Janko,  arranged  like  a  series  of  steps, 
six  in  number.  Each  key  may  be  struck  in 
three  places,  some  on  the  1st,  3d,  and  5th 
steps,  the  rest  on  the  2d,  4th,  and  6th,  thus 
enabling  the  jierformer  to  select  the  most 
convenient  for  tlie  passage  to  be  executed. 
The  chief  advantages  claimed  for  this  key- 
board are :  that  all  scales  may  be  fin- 
gered alike  ;  that  the  thumb  may  be  placed 
on  any  key,  black  or  white  ;  that  the  extended 
chords  are  brought  within  easy  reach. 

Janissary  Music.  Instruments  of  percussion, 
as  small  bells,  triangles,  drums,  cymbals. 

Jeu  (Fr.)  [zhoo').  Literally,  play.  A  stop  on 
the  organ. 

Jeu  d'anche  [d'oitgs/i).     Reed  stop. 

Jeu  de  flute.     Flue  stop. 

Jackson,  \Vm.      Organist,   composer;    Eng- 
land.    B.  1730;  d.  1803. 
Jacobsehn,  S.  E.  (yah-cob-sone).     Violinist; 

Germany.      B.  1839. 
Jadassohn,    S.    {yah-das-sone).      Composer, 

theorist;   Germany.      B.  183 1  ;   d.  1902. 
Jaell,  Alfred  {yale).     Pianist;  Austria.     B. 

1832;  d.  1882. 
Jahn,    Otto    [ya/m).      Essayist;    Germany. 

B.  1813;  d.  1869. 
Janiewicz,  Felix  [yah-nee-vich).     Violinist; 

Poland.      B.  1762;  d.  1848. 
Janssens,    J.    Y.    [yahn-sens).      Composer; 

Belgium.      B.  1810;  d.  1890. 
Jarvis,  Ch.  II.     Pianist;  U.  S.  A.     B.  1836; 

d.  1895. 


Jeu  demi  ((/?// -wt"^).  Half  power;  mezzo  forte. 

Jeu  deux  [doo).     Soft  stops. 

Jeu  forts  (fort).     Loud  stops. 

Jeu  grand.     P'uU  organ. 

Jeu  plein  [plane).     Full  power. 

Jig  [It.,  Giga ;  Fr.  and  Ger.,  Gigne ;  comes 
either  from  Geige,  an  obsolete  variety  of 
fiddle,  or  from  Chica,  a  rapid  Spanish 
national  dance].  Now  a  rapid  rustic  dance 
of  no  fixed  rhythm  or  figures.  In  the  classic 
suite  the  jig  is  the  last  movement,  written  in 
%  time  and  often  very  elaborately  treated  in 
iugal  form. 

Jedeln  (Ger.)  [yo-debi).  A  manner  of  sing- 
ing cultivated  by  the  Swiss  and  Tyrolese;  it 
consists  of  sudden  changes  from  the  natural 
to  the  falsetto  voice. 

Jota  (Sp.)  [ho-ta).  A  Spanish  national  dance 
in  triple  time. 

Jour  (Fr. )  [zhoor).  Day.  An  open  string  is 
called  corde  a  jour. 

Jubal  (Ger.)  (yoo-bal).  An  organ-stop  of  2- 
or  4- foot  pitch. 

Jungfernregal  (Ger.)  [yung-fern-reh-gal). 
See  /  'ox  angelica. 

Just  Intonation.    Singing  or  playing  in  tune. 

Jensen,  Adolf  {yen-sen).  Composer;  Ger- 
many.    B.  1837 ;  d.   1879. 

Joachim,  J.  {yo-a-kim).  Violinist;  Hungary. 
B.  1S31  ;  d.  1907. 

Jomelli,  N.  {yo-mel-lee).  Composer;  Italy. 
B.  1714;  d.  1774. 

Joncieres,  Victorin  de  (zhon-see-ehr).  Real 
name,  T.  L.  Rossignol.  Composer ;  France. 
B.  1839;  d.  1903. 

Joseffy,  Raphael  [yo-sef-fee).  Pianist;  Hun- 
gary.    B.  1S52. 

Josquin,  Despres  [zhos-  kang,  deh  - preh). 
Composer;    France.      B.  1450  ;   d.  1521. 

JuUien,  L.  A.  [zhool-leang).  Composer  and 
conductor;   F"rance.      B.  1S12  ;  d.  i860. 

Jungmann,  A.  [yoong -  man).  Composer, 
pianist;   Germany.      B.  1S14;   d.  \'>c)i. 


KALAMAIKA 


51 


KIRCllENTON 


K 


Kalamaika  [ka-la-»iy-ka).  A  Hungarian 
dance  ;   rapid  \  time. 

Kammer  (Ger.).      Chamber. 

Kammerconcert.     Chamber  concert. 

Kammermusik.     Chamber  music. 

Kammerstil.     Chamber-music  style. 

Kammerton.     Concert  pitch. 

Kanon,  Kanonik  (Ger.).    See  Cation. 

Kanoon.      A  Turkish  dulcimer,  played  like 

the  psalterion  by  means  of  plectra  attached 

to  thimbles. 
Kantate  (Ger.).     Cantata. 
Kanzone  (Ger.),  Kapodaster  (Ger.),  Capo- 

tasto,  Kassation  (Ger.),  Kavatino  (Ger.). 

See  same  words  under  C. 

Kapellmeister  (Ger.).  The  leader  of  a  band 
or  chorus  attached  to  a  royal  or  noble  house- 
hold. 

Kapellmeister-Musik  (Ger.).  A  contempt- 
uous term  for  music  that  is  dull  and  un- 
original but  correct  and  pedantic. 

Keckheit  (Ger. ).  Boldness.  Mit  Keckheit, 
with  boldness. 

Kehrab  or  Kehraus  (Ger.).  Lit.,  turn  out. 
The  last  dance  at  a  ball. 

Kent  Bugle.  A  wind  instrument  generally 
made  of  copper,  with  cup-shaped  mouth- 
piece, furnished  with  keys. 

Keraulophon  [from  Gr., /t^rffj-,  horn  ;  aulas, 
flute;  scaA  phone,  sound].  A  soft  flue-stop 
of  8-foot  pitch. 

Keren.     A  Hebrew  trumpet. 

Kettle-drum.  A  half-sphere  of  copper,  the 
head  made  of  vellum,  which  may  be  tight- 
ened or  loosened  by  means  of  screws  or 
braces.  The  kettle-drum  is  the  only  drum 
from  which  sounds  of  definite  pitch  may  be 
obtained.  They  are  generally  used  in  pairs 
in  the  orchestra,  and  are  tuned  to  the  tonic 

Kafka,  J.  C.  Violinist;  Austria.  B.  1747  ; 
d.  1800. 

Kafka,  J.  N.  Composer  and  pianist ;  Bohe- 
mia.    B.  1819;  d.  1886. 

Kalkbrenner,  F.  W.  M.  {kalk-brenner). 
Pianist,  composer;  Germany.  B.  1784; 
d.  1849. 

Kalliwoda,  J.  W.  (kal-Iee-vo'-dah).  Com- 
poser, violinist ;  Bohemia.  B.  1800  ;  d. 
1867. 

Kastner,  J.  G.  [kasf-nei-').  Composer; 
Alsatia.      B.  1810;   d.  1867. 

Keler  Bela,  A.  von  {keh-ler  beh-la).  Com- 
poser, band-master;  Germany.  B.  1820 ; 
d.  1882. 


and  dominant  of  the  key,  but  modem 
writers  adopt  various  other  methods  of  tun- 
ing ;  it  is  also  quite  usual  now  to  use  three 
drums.  The  larger  drum  may  be  tuned  to 
any  note  from 


9i 


The  smaller 


-^y^ 


1^=2^ 


9^ 


-^6>- 


P^: 


In  old  scores  the  drum  part  was  always 
written  in  C  and  the  sounds  wished  were 
indicated  by  writing  Timpani  in  F,  BjZ,  etc. 
The  modern  custom  is  to  write  the  actual 
sounds. 

Key.  (l)  A  series  of  sounds  forming  a  major 
or  minor  scale.  See  Scale.  (2)  A  piece  of 
mechanism  by  means  of  which  the  ventages 
of  certain  wind  instruments,  as  flute  and 
clarionet,  are  closed  or  opened.  (3)  A  lever 
by  which  the  valves  of  the  organ  are  opened 
or  the  hammers  of  the  piano-forte  put  in 
motion.  ^A  Table  of  Signatures  and  iVa7nes 
of  all  the  Major  and  Minor  Keys  on  the 
following  page. ) 

Keyboard,  Klavier  (Ger.)  [kla-feer).  The 
rows  of  keys  of  the  organ  or  piano  ;  tho.se 
for  the  hands  are  called  manuals,  for  the 
feet,  pedals. 

Keynote.  The  sound  or  letter  with  which 
any  given  scale  begins ;   tonic.      .See  Scale. 

Kinderscenen  (Ger.)  (  kinder  -  stsa  -  nen  ). 
Child-pictures  ;  a  name  given  by  Schumann 
to  a  collection  of  little  pieces  for  the  piano. 

Kinderstiick  (Ger.).     Child's  piece. 

Kirchenmusik  (Ger.).     Church  music. 

Kirchenstil.     Church  style. 

Kirchenton.     Ecclesiastical  mode. 

Kellogg,  Clara  Louisa.  Singer ;  U.  S.  A. 
B.  1842. 

Kerl,  J.  C.  [kerl).  Composer,  organist; 
Bavaria.      B.  1628;   d.  1690. 

Kiel,  Fredk.  [keel).  Composer;  Germany, 
B.  1821  ;   d.  1885. 

Kiesewetter,  R.  G.  von.  Essayist ;  Ger- 
many.    B.  1773;  d.  1850. 

King,  Julie  Rive.  Pianist;  U.  S.  A.  B. 
1856. 

Kircher,  A.  Historian;  Germany.  B.  1602; 
d.  1680. 

Kirnberger,  J-  P-  {keern-behr-ger).  The- 
orist; Gerniany.     B.  1721;  d.  1783. 


KIT 


52 


KNEE-STOP 


TABLE  OF  SIGNATURES  AND  NAMES  OF  ALL  THE  MAJOR  AND  MINOR  KEYS. 


Key-s.gna-      E„g,i^,_ 


German. 


French. 


Italian. 


f  C-major 
X  A-minor 

Cdur 
A  moll 

Ut  majeur 
La  mineur 

Do  maggiore 
La  minore 

G-major 
'  E-miiior 

G  dur 
E  moll 

Sol  majeur 
Mi  mineur 

Sol  maggiore 
Mi  minore 

f  D-major 
(  B-miiior 

D  dur 
H  moll 

Re  majeur 
Si  mineur 

Re  maggiore 
Si  minore 

\      —   f  A-major  A  dur 

I  \  F-sharp  minor     Fis  moll 


(  E-major  E  dur 

IC-sharp  minor     Cis  moll 


^£&- J  B-major  H  dur 

"         (  G-sharp  minor    Gis  moll 


?#j^-Jt_J   f  F-sharp  major     Fis  dur 
y      t     '■   I  D-sharp  minor     Dis  moll 


La  majeur  La  maggiore 

Fa  diese  mineur        Fa  diesis  minore 


Mi  majeur  Mi  maggiore 

Ut  diese  mineur         Do  diesis  minore 


Si  majeur  Si  maggiore 

Sol  diese  mineur       Sol  diesis  minore 


Fa  diese  majeur        Fa  diesis  maggiore 
Re  diese  mineur        Re  diesis  minore 


Natural  key. 


Keys  with 
sharps. 


fG-flat  major         Ges  dur        Sol  bemol  majeur      Sol  bemolle  maggiore 
1  E-flat  minor         Es  moll        Mi  bemol  mineur      Mi  bemolle  minore 


fcfclz^  /  D-flat  maj 
i^±l^:=  \  B-flat  min. 


or         Des  dur        Re  bemol  majeur       Re  bemolle  maggiore 
nor  B  moll  Si  bemol  mineur        Si  bemolle  minore 


J  A-flat  major 


F-minor 


f  E-flat  major 
\  C-minor 


As  dur  La  bemol  majeur 

F  moll  Fa  mineur 


Es  dur  Mi  bemol  majeur 

C  moll  Ut  mineur 


La  bemolle  maggiore 
Fa  minore 


Mi  bemolle  maggiore 
Do  minore 


■^  ( B-flat  major  B  dur 

T^  ( G-minor  G  moll  Sol  mineur  "  Sol  minore 


Si  bemol  majeur        Si  bemolle  maggiore 


fF-, 

Id- 


major 
minor 


F  dur 
D  moll 


Fa  majeur 
Re  mineur 


Fa  maggiore 
Re  minore 


Keys  with 
f        flats. 


Kit,  Pochette  (Fr.),  Taschengeige  (Ger. ). 
A  small  pocket-fiddle  used  by  dancing- 
masters. 

Klangfarbe  (Ger.).  Lit.,  sound-color. 
(Quality  of  tone;  timbre   (Fr. .  ^amdr). 

Klavier  or  Klaviatur  (Ger.)  {^kla-feer' ,  klah- 
fee-a-toor').      Keyboard. 

Klavierauszug.      Piano-forte  arrangement. 

Klaviermassig.     Suited  to  the  piano. 

Kittl,  T-  F.  Organist;  Bohemia.  B.  1806; 
d.  1868. 

Kierulf,  Halfdan  [kefroolf,  ho/dan').  Com- 
poser;  Norway.      B.  1815;   d.  1868. 

Klpin,  Michel  R.  {kline,  iiieechel).  Pianist; 
Silesia.      B.  1846. 


Klaviersatz.      In  piano-forte  style. 

Klavierspieler.      Pianist. 

Klein  (Ger. ).     Small;  minor. 

Klein  gedeckt.     Small  stopped  diapason. 

Knee-stop.  A  lever  controlled  by  the  knees 
of  the  performer,  used  in  the  harmonium  or 
cabinet  organ  either  to  operate  the  swell 
or  to  put  on  or  off  the  full  power  of  the 
instrument. 

Klengel,  A.  A.  Composer,  pianist.  B.  17S4; 
d.  1852. 

Klindworth,  C.  (klint-worth).  Pianist;  Ger- 
many.     B.  1830. 

Kohler,  L.  Pianist,  composer ;  Germany. 
B.  1820;  d.   1886. 


KOPPEL 


53 


LAMENTABILE 


Koppel   (Ger.).      A   coupler.       Koppel  ab, 

coupler  off.    Koppel  an,  coupler  on. 
Kosakisch  (Ger.).    Cossack  dance  in  |  time. 
Kraft  (Ger.).     Force;  power. 
Kraftig  (Ger.).     Vigorous;  powerfully. 
Krakowiak  \kra-ko-viak).      Cracovienne. 
Kreuz  (Ger.)  {kroyls).      A  sharp. 
Kriegerisch  (Ger.).     Martial. 
Kriegerlied  (Ger.).     War-song. 

Kontski,  A.  de  {kont-skee).  Composer, pianist ; 

Poland.      B.  1817. 
Kontski,  Appolinaire.    Violinist ;  Poland.    B. 

1825 ;  d.  1879. 
Kotzeluch,  J.  A.  {kots-eh-loocJi).     Composer; 

Bohemia.     B.  1738;   d.  1814. 
Kotzeluch,  L.  K.     Composer;   Bohemia.    B. 

1748;   d.  1814. 
Kotzwara,  F.  (/JoA-zw/^-;-rt'/^).    Violinist;  Bo- 
hemia.    B.  1750;  d.  1791. 
Krebs,  J-  L-    Composer,  organist  ;   Germany. 

B.  1713;  d.  1780. 
Krebs,    R.    A.      Composer;    Germany.      B. 

1804;  d.  1880. 
Krebs,  Marie,  daughter  of  last.     Pianist.     B. 

1851. 
Kreutzer,  A.  Auguste  {kroit-zer).     Violinist; 

France.     B.  1781 ;  d.  1832. 
Kreutzer,  Conrad.    Composer;  Germany.    B. 

1780  ;   d.  1849. 
Kreutzer,  Rudolph,  brother  of  A.     Violinist ; 

France.      B.  1766;   d.  183I. 
Kreutzer,  Leon,  son  of  R.    Violinist ;  France. 

B.  1817;  d.  1868. 


Krummhorn  (Ger.).    Crooked  horn  ;  the  cre- 

mona  stop. 
Kunst  (Ger.).     Art. 
Kunstlied    (Ger.).       An   artistic   song;    the 

reverse  of  a  popular  song  or  Volkslied. 

Kurz  (Ger.)  [koorts).     Short;  staccato. 
Kurz  und  bestimmt.     Short  and  emphatic. 
Kyrie  [Gr.,   Loi-d'\.     The  first  word  of  the 
mass ;   used  as  a  name  for  the  first  division. 

Kriiger,  \Vm.  [k?-ee-ge}-).     Pianist ;   Germany. 

B.  1820;  d.  1883. 
Krumpholz,  J.  B.  {kroomp- holts).      Harpist ; 

Bohemia.      B.  1745  ;  d.  1790. 
Krumpholz,  W. ,  brother  of  J.  B.     Harpist ; 

Bohemia.     B.  1750;   d.  1817. 
Kiicken,    F.    W.    (^kt-e-ken).        Song    writer ; 

Germany.      B.  1 810;   d.  1882. 
Kufferath,   H.  ,F.    {koof-e-raht).     Germany. 

Pianist;  composer.      B.  1808  ;  d.  1882. 
Kiiffner,   J.    (keef-ner).       Pianist;    Germany. 

B.  1776;  d.  1856. 
Kuhe,  W.  [koo-eJi).      Pianist;   Bohemia.     B. 

1823. 

Kuhlau,  F.  D.  R.  [koo'-hnv,  Ger.  au  like  oio 
m  toiun).  Composer,  liutist ;  Denmark.  B. 
1786;   d.  1832. 

Kuhnau,  J.  [koo'-noiv).  Composer,  organist ; 
Germany.     B.  1667  ;  d.  1722. 

KuUak,  Adolf  {kool-lak).  Composer,  essay- 
ist;  Germany.     B.  1823;  d.  1862. 

KuUak,  Theo. ,  brother  of  above.  Pianist. 
B.  1818;  d.  1882. 

Kummer,  F.  A.  [koom-tner).  'Cellist;  Ger- 
many.    B.  1797;  d.  1879. 


L.  H.   Abbreviation  for  left  hand  ;  in  German, 

linke  Hand. 
La.     The  sixth  Aretinian  syllable ;  the  name 

in  French  and  Italian  of  the  sound  A. 
Labial  [Lat. ,  labium,  lip].  A  flue-stop. 
Labialstimme  (Ger.).     A  flue-stop. 

Labitsky,  Josef  [lak-bil^-skee).  Composer; 
Schonfeld.      B.  1S02  ;  d.  1881. 

Lablache,  Luigi  [laJi-hlask').  Basso;  Na- 
ples.    B.  1794;  d.  1858. 

Lachner,  Franz  {lac¥-nehr).  Conductor, 
composer;   Bavaria.      B.  1804;  d.  1890. 

Lachner,  Theodor    {^lach'-nehr),  brother  of 

above.      Organist;    Bavaria.      B.  1798;    d. 

1877. 
*-achner,     Ignaz     {lach'-nehr'),    brother    of 

above.       Composer,    conductor ;     Bavaria. 

R.  'jc  ;  d    :895. 


Lacrimoso  or  Lagrimoso  (It.)  [from  la- 
_o7'?'wrt,  tear].      Tearfully;  mournfully. 

Lamentabile,  Lamentabilmente,  Lamen- 
tando,  Lamentevolmente,  Lamente- 
vole,  Lamentato  [It.,  from  lamentare,  to 
lament].      Mournfully;   complainingly. 

Lachner,   Vincenz    (lach'-nehr),   brother   of 

preceding.     Organist,  conductor;   Bavaria. 

B.  181 1  :   d.  1S9J. 
La  Grange,   Anna  (lah-gronzh).     Soprano; 

Paris.      B.  1825. 
Lalo,  Edward  [lah-lo).     Composer,  violinist ; 

France.      B.  1823  ;  d.  1892. 
Lambillote,  Louis  {lavi-bee-yoie).    Composer; 

France.      B.  1797;   d.  1855. 
Lamoureux.    Ch.    (lah- mo-rod).      Violinist, 

conductor;   France.      B.  1834;   d.  1899. 

Lamperti,  F.  (lam-pehr'-tee).  Singer;  Italy. 
B.  iSi  ;;   <1.  1.S02. 


LANCERS 


r>4 


LEGGIADRAMENTE 


Lancers.    The  name  of  a  variety  of  the  contra 

(lance. 
Landler    (Ger. )    \layn,i-lei).      A  slow   waltz 

ol  South  German  origin. 

Langsam  (Ger. ).  Slow.  Etwas  langsam, 
rather  .slow  ^  poco  adagio).  Ziemlich  [tst-etii- 
lich)  langsam,  moderately  slow  (andante). 
Sehr  langsam,  very  slow  (adagio). 

Language.      The  diaphragm  of  a  flue-pipe. 

Languendo  (It.)  {km-  gun-n' -  do),  Lan- 
guente  (It.)  {!an-gwen'-teh)  [from  lan- 
i;uii-e,  to  languish],  Languemente  (It.) 
(Jaii-gzvehiiieii'  -Ich).    In  a  languishing  style. 

Largamente  (It.).  Broadly;  slowly;  with 
dignity. 

Largando     (It.).        Gradually    slower     and 

broader. 
Largement  (Fr.)  [larzh-jnoiig).    Largamente. 
Larghetto  (It.)  {/argel-to).      Rather  slow. 

Larghissimo  (It.)  [liir-gis-si/n-7no).  Slowest 
possible  time. 

Largo  (It.).     Lit. ,  large;  broad.     Very  slow, 

stately  movement  is  indicated  by  this  term. 
Largo  assai.     Slow  enough. 
Largo  di  molto.     Very  slow. 

Largo  ma  non  troppo.      Slow,  but  not  too 

much  so. 
Larigot  (Fr. )  [iarigo).    An  organ-stop  of  ly^- 

foot  pitch,  that  is,  a  twelfth-stop. 
Lauftanz     ( Ger. ).       Running    dance ;     the 

coranto. 
Launig  (Ger. )  (/(?7£/-«?^).    Gay;  light ;  facile. 

Lavolta  (It.).  An  old  Italian  dance  resem- 
bling the  waltz. 

Lay  [Ger.,  Lird ;  Fr. ,  /(?/].      A  song. 

Leader.  Conductor  ;  principal  violinist  in  an 
orchestra ;  principal  clarionet  in  a  wind 
band  ;  principal  cornet  in  a  brass  band. 

Leading  Motive.  In  German,  Leitmotiv, 
q.  V. 

Leading  Note.  The  yth  note  of  a  scale  ;  in 
the  major  scale  the  7th  is  naturally  a  half- 
tone below  the  keynote,  in  the  minor  scale 

Lang,  Ben.  J.     Composer, pianist,  conductor; 

U.  S.  A.      B.  1840;   d.  1909. 
Lange,    Gustav      {  laiig' -  eh).       Composer, 

pianist;   Germany.     B.  1830 ;   d.  1889. 

Lanner,  Jos.  F.  K.  [Inn^-tiei').  Composer; 
.\ustria.     P3.  1801  ;  d.  1843. 

Laport,  Ch.  P.  [loh-port).  Composer;  Paris. 
B.  1781;  d.  1839. 

Laspen,  Eduard.     Composer ;   Denmark.    B. 

1S30  ;    d.   1904. 
Lavalee,  Calixa   (lah-vah-leh).       Composer, 

pianist ;   Canada.      B.  1842  ;    d.  1888. 

Le  Carpentier,  Adolphe  C.  {U  car  -  poug- 
tee-eh).  Composer,  nianist ;  Paris.  B. 
1809  ;   d.   1869. 


it  is  naturally  a  whole  tone  below,  and  must 
be  raised  by  an  accidental  (see  Minor  Scale); 
called  also  sub-tonic. 

Leaning  Note.     See  Appoggiatura. 

Leap.  To  move  from  one  tone  to  another 
more  than  one  degree  distant ;  the  reverse 
of  diatonic  or  chromatic. 

Lebendig  (Ger.)  {leh-ben'-dig),  Lebhaft 
{Ge.x.)  [lehb'-hahft).  Lively;  with  anima- 
tion. 

Ledger  Line.     See  Leger  Line. 

Legato  (It.)  {leh-gah'-td),  Legando  (It.) 
{leh-gan'-do)  [from  legare,  to  tie  or  bind]. 
Passages  thus  marked  are  to  be  played  with 
smoothness,  without  any  break  between  the 
tones.  Legatissimo,  as  smooth  as  possible, 
the  tones  sligiitly  overlapping.  Legato  is 
indicated  by  this  sign  -'  ^  called  a  slur. 
The  proper  observance  of  Legato  is  of  the 
utmo.st  importance  in  phrasing. 

Legatura  (It. )  [leh-gah-too'-ra).      A  tie. 

Legatura  di  voce  {de-vo-cheh).  A  group  of 
notes  sung  with  one  breath  ;  a  vocal  phrase, 

Legend,  Legende  (Fr. )  [le/i-zhend ),  Le- 
gende  (Ger.)  [lek-ghen'-deh).  A  name 
given  to  an  extended  lyric  composition, 
somewhat  in  the  manner  of  "program 
music."      [^Cf.  Chopin's  Legendes.] 

Leger,  Legere  (Fr.)  {leh'-zhehr).      Light. 

Leger  Line.  Short  lines  used  for  notes 
which  are  above  or  below  the  staff. 

Legerment  {leh-zhehr-inong).     Lightly. 

Leggeramente  ( led  -  jeJir  -  a  -  men'  -  teh  ). 
Lightly. 

Leggerezza  (It.)  [led-jeh-ret'-za).    Lightness. 

Leggero  {led-jeh-ro),  Leggiero  [led-Jee-ro). 
Light ;  rapid. 

Leggiadramente  (It.)  {led-jak-drah-men'- 
ieh),  Leggiaramente  [led-jah-ra/i-i/ien/ 
tell),  Leggiermente  (led- jeer -men' -teli). 
All  these  terms  (derived  from  the  same 
root — leggiere,  light,  quick,  nimble,)  indicate 
a  light,  rapid  style  of  performance  without 
marked  accent. 

Leclair,  Jean  M.  [leh-clare).  Composer, 
violinist;   France.     B.  1687;   d.  1764. 

Lecocq,  Alex.  Ch.  (le-kok).  Composer; 
Paris.     B.  1832. 

Lecouppey,  Felix  (le- coop-pay).  Composer, 
pianist;   Paris.      B.  1814;  d.  1887. 

Le    Due,     Alphonse.        Composer,     pianist; 

France.      B.  1804;   d.  1868. 
Lefebure-Wely,    Louis    J.   A.    (  le-feh-boor- 

veh-lee).      Comcoser,  organist ;    Paris.     B. 

1817;   d.  1869.* 

Lemmens,  Nicholas  J.  Organist ;  Holland- 
B.  1823;   d.    1881. 

Lemoine,  Henri.  Composer,  pianist ;  Paris. 
B.  17S6;  d.  1854. 


LEGNO 


55 


L'ISTE.SS(3 


Legno  (It.)  {lehn-yo).  Wood.  Col  legno, 
with  the  wood.  A  direction  in  violin  play- 
ing to  strike  the  strings  with  the  wooden 
part  of  the  bow. 

Leicht  (Ger.).     Light;  easy. 

Leichtbewegt  (Ger.)  [beh-vekgt).  Light; 
with  motion. 

Leidenschaft  (Ger.).     Passion;  fervency. 

Leidenschaftlich  (Ger.).     Passionately. 

Leierkasten.     Barrel-organ. 

Leiermann.     Organ-grinder. 

Leise  (Ger.)  {lei'-seJi).     Soft;   piano. 

Leiter  (Ger.).  Ladder.  Tonleiter,  tone- 
ladder  ;  scale. 

Leitmotiv  (Ger. ).  Leading  motive  ;  a  name 
given  by  Wagner  to  certain  striking  phrases 
used  to  indicate  certain  emotions,  characters, 
or  situations. 

Leitton  (Ger.).     Leading  note. 

[Note,  —ei  in  German   is   sounded   like   eye  in 
English.] 

Lenezza  (It.)  {leh-net'-za).     Gentleness. 

Leno  (It.)  (Jeh'-no).     Faint ;  feeble. 

Lentamente  (len-tah-mefi-teli).     Slowly. 

Lentando.     Growing  slower  ;  retarding. 

Lentezza  {len-tet-za).      Slowness. 

Lento    (It.).       Slow,   between    adagio   and 

grave. 
Lesser.     Minor  is   sometimes  so  called,  as 

key  of  C  with  lesser  third  ;  C  minor. 

Lesson.  A  name  used  in  England  for  the 
suite,  or  the  various  members  of  it. 

Lesto  (It. )  (/t'/i'' -.?/(?).      Lively;   brisk. 

Letter  Name.  The  letter  used  to  designate 
a  degree  of  the  scale,  key  of  piano  or 
organ,  line  or  space  of  the  staff. 

Leve  (Fr.)  {lek-veli).      Raised;  up-beat. 

Leyer  or  Leier  (Ger.).     Lyre. 

Liaison  (Fr.)  {lee-eh-song).     A  tie. 

Libellion.     A  variety  of  music-box. 

Liberamente  (It. )  (lee-beh  -  ra  -  nie7i'-teh), 
Librement  (Fr. )  [leebr-mong).     Freely. 

iLemoine,  Jean  B.  {le-iiio-ane).  Composer; 
France.     B.  1751 ;  d.  1796. 

Leschetitsky,  Theodor  {leh-shay-tit'  -skie). 
Composer,  pianist ;  Austria.      B.  1831. 

Leslie,  Henry  D.  Composer,  conductor; 
London.      B.   1822;  d.  1896. 

Leybach,  Ignace  {li'-bach').  Composer,  pi- 
anist;   Alsace.      B.  1817;   d.  1891. 

Lickl,  J.  G.  Composer,  organist;  Germany. 
B.  1769  ;   d.  1 841. 

Liebling,  Emil  [leeb-ling).  Pianist;  Silesia. 
B.  1851. 

Lille,  Gaston  de  {/eel).  Composer;  France. 
B.  1825. 


Libretto  (It.)  {lee-bret  to).  Little  book  ;  the 
book  of  an  opera  or  oratorio,  etc. 

License,  Freiheit  (Ger.),  Licence  (Fr.), 
Licenza  (It.)  (Jee-chentza).  An  intentional 
disregard  of  a  rule  of  harmony  or  counter- 
point. 

Liceo  (It.)  (Jee-cheh'-o).  Lyceum;  academy 
of  music. 

Lie(Fr.)  (lee-eh).     Tied;  bound;  legato. 

Lieblich  (Ger. ).    Sweet;  lovely. 

Lieblich  gedacht.     Stopped  diapason. 

Lied  (Ger.)  [leed).  Song.  Durchkom- 
poniertes  Lied  (all  through  composed),  a 
song  with  different  melody,  etc.,  to  every 
stanza.  Strophenlied,  the  same  melody 
repeated  with  every  stanza.  Kunstlied, 
art  song  ;  high  class  of  song.  Volkslied, 
people's  song;  national  song. 

Lieder-Cyclus.  Song-circle  (as  Schubert's 
Miillerin). 

Liederkranz.     A  singing-society. 

Liederkreis.    Song  circle  ;  collection  of  songs. 

Liederspiel.  Song-play  ;  operetta  ;  vaude- 
ville. 

Liedertafel  (song-table).  A  social  singing- 
society. 

Ligato.     See  Legato. 

Ligature.     A  tie.     See  Legatura. 

Ligne  (Fr. )  (Jeen),  Linea  (It.)  {lee'  neh-ah), 
Linie  (Ger.)  {lee-nee-e/i).      Line. 

'L.mgua.  {\i.)  i^ling-wah').     Tongue;  reed  of 

organ -pipe. 
Linke  Hand  (Ger.).     Left  hand. 

Lip.  The  upper  and  lower  edges  of  the 
mouth  of  an  organ  pipe.  To  lip,  the  act  of 
blowing  a  wind  instrument. 

Lippenpfeife  or  Labialpfeife  (Ger.).  A 
tlue  pipe-organ. 

Lira  (It.)  {lee'-ra).     Lyre. 

Lirico  (It.)  {lee'-ree-cd).     Lyric. 

Liscio  (It.)  {lee'-sho).     Smooth. 

L'istesso  (It.)  {Us-tes'-so).     See  Istesso. 

Lind,  Jenny.     Vocalist;  Sweden.     B.  1820 ; 

d.  1887. 
Lindley,  Rob.     Violoncellist ;  England.     B. 

1776;  d.  1855. 

Lindley,  Wm. ,  son  of  R.  Violoncellist ; 
England.     B.  1802;  d.  1869. 

Lindpaintner,    Peter    J.    von.      Composer; 

Coblenz.     B.  1791  ;  d.  1856. 
Linley,  George.     Composer ;    England.     B. 

1798  ;  d.  1865. 
Linley,  Thomas.     Composer ;   England.     B, 

1732;  d.  1795. 
Linley,  William.     Composer;   England.     B. 

1767 ;  d.  1835. 


LITANY 


56 


MACHINE  HEAD 


Litany  [from  Gr.,  litaino,  to  pray].  A  form 
of  prayer  consisting  of  alternate  petitions 
and  responses  by  priest  and  people,  fre- 
quently sung  or  chanted. 

Livre  (Fr. )  (leevr).     Book.    A  libre  ouvert, 

"  at  open  book ;  "   to  sing  or  play  at  sight. 
Lobgesang  (Ger. ).     Song  of  praise. 

Loco  (It.).  Place;  play  as  written.  Used 
after  8va. 

Lontano  (It.),  Da  lontano.     As  if  from  a 

distance. 
Losung   or   Auflosung    (Ger.)    {lay-soonk) 

[from  Ger.,  I'dsen,  to  free].      Resolution. 

Loud  Pedal.     A  name  for  the  damper-pedal. 
Loure  (Fr. )  {loor).     (l)  A  slow  dance  in  |  or 

I  time.      (2)  An  old  name  for  a  variety  of 

bag-pipe. 
Loure  (Fr. )  {looreh).     Legato;   slurred. 
Low.     (i)  Soft.     (2)  Deep  in  pitch. 

Lugubre    [Fr.,  loo-goobr ;   It.,  loo-goo-breh^ 

Mournful. 
Lullaby.     Cradle  song ;  berceuse. 

Lunga   (It.).    Long.     Lunga   pausa,    long 

pause. 
Luogo  (It.).     See  Loco. 

Lusingando  (It.)  {loos-in-gan' -do^,  Lusin- 
gante  (It.)  \loo-sin-ga7i' -teli),  Lusinghe- 
volmente  (It.)  [loo-sing-eh-vol-inen' -teJi), 
Lusinghiere  (It.)  [loo  -  sin  -  gee  -  eh  -  reh). 
Coaxing;  caressing;  seductive.  [From  It. , 
Insingare,  to  coax  or  flatter.] 

Lustig  (Ger.)  (^oi-Z/j-).    Merry;  gay  ;  lively. 

Lipinski,  Karl  J.  [lip-in' -skee').  Violinist; 
Poland.      B.  1790 :   d.  1861. 

Lisle,  Rouget  de  [ieel).  Composer;  France. 
B.  1760;  d.  1836. 

Listemann,  B.  F.  [lis'-teh-tnan).  Violinist; 
Germany.      B.  1841. 

Liszt,  Franz  [lisf).  Composer,  pianist;  Hun- 
gary.     B.  181 1  ;  d.  1886. 

Litolff,  Henri  C.  [lee'-tolf).  Pianist;  Eng- 
land.     B.  1818;   d.  1891. 

Logier,  J.  B.  (/o-zV^t).  Composer;  Germany. 
B.  1780;  d.  1846. 

Lortzing,  Gustav  A.  [lort-zing^.  Composer; 
Germany.     B.  1803;  d.  1851. 


Lute,  Luth  (Ger.)  [loot).  A  string  instru- 
ment of  the  guitar  family  of  very  ancient 
origin.  It  was  brought  into  Eurcpe  by  the 
Moors.  In  shape  it  resembled  the  mando- 
lin, and  was  strung  with  from  six  to  twelve 
or  more  strings  of  gut.  The  bass  strings 
were  wire-covered  and  did  not  pass  over 
the  fingerboard.  For  several  centuries  the 
lutes  held  the  foremost  place  aa  fashionable 
instruments.  They  were  made  of  several 
sizes.  The  kirger  varieties  were  called 
Theorbo,  Arch  Lute,  or  Chittarone.  Music 
for  the  lute  was  written  in  a  system  of  nota- 
tion called  tablature,  q.  v. 

Luth  (Ger.)  [loot).     Lute. 

Luthier  (Ger.)  [loof-eer).  A  lute-maker;  also 
given  to  makers  of  all  string  instruments  of 
the  guitar  or  violin  families. 

Luttosamente.  Mournfully.  [From  It., 
iuttare,  to  mourn  ;   struggle.] 

Luttoso  (It.)  [loot-to-so).   Mournful. 

Lyre.  A  Greek  string  instrument  of  the  harp 
family. 

Lyric.  Song-like.  In  poetry,  a  short  poem 
of  a  simple,  emotional  character.  The  term 
has  been  borrowed  by  music  to  designate 
musical  works  of  like  character. 

Lyric  Form.     A  composition  the  themes  of 

which  are  not  treated  in  the  manner  of  the 

rondo  or  sonata,  q.  v. 
Lyric  Stage.    The  operatic  stage.    This  terra 

will    hardly  apply  to    the    modern   "  music 

drama." 

Loschhorn,  Albert  [lesh'-honi).  Pianist, 
composer;  Germany.     B.  1819;  d.  1905. 

Louis  (Prince  Ludwig  F.  C. ,  of  Prussia). 
Composer.      B.  1772;   d.   1806. 

Lowe,  Johann  C.  G.  [leh'-veh).  Composer: 
Cothen.      B.  1796;  d.  1869. 

Lucca,  Pauline.  \'ucal.c..;  .nutria.  B.  1S4I  ; 
d.  1908. 

Lully,  Jean  Bap.  de  [liil-lee).  Composer; 
Italy.      B.  1633;   d.  1687. 

Lumbye,  Hans  C.  [loom' -bee).  Composer; 
Denmark,     B.  1808;  d.  1874. 

Lysberg,  Ch.  S.  [lis-berg).  Composer,  pian- 
ist;  Switzerland.     B.  1821  ;  d.  1873. 


M 


M.  Abbreviation  for  Mano  or  Main,  the  hand. 

M.   D.     Abbreviation    for    Main    Droite    or 
Mano  Destra,  the  right  hand. 

M.  F.     Abbreviation  for  Mezzo  Forte,  half 
loud. 

M.   G.     Abbreviation  for  Main  Gauche,   left 
hand. 


M.  M.  Abbreviation  for  Maelzel's  Metro- 
nome. 

M.  V.     Abbreviation  for  Mezzc  Voce. 

Ma  (It).     But. 

Machine  Head.  The  screw  and  wheel  con- 
trivance used  instead  of  pegs  in  the  guitar, 
etc. 


MADRE 


57 


MARCATISSIMO 


Madre  (It.)  {malt' -dreh).  Mother;  the 
Virgin  Mary. 

Madrigal.  A  word  of  uncertain  origin.  A 
name  given  to  contrapuntal  compositions  in 
any  number  of  parts.  They  differ  from  the 
motet  only  in  being  written  to  secular  words, 
generally  amatory.  This  style  of  com- 
position was  cultivated  with  great  success 
in  England  in  Elizabeth's  reign. 

Maesta  (It.)  {mah' -es-ta),  con,  Maestade 
{inah'-es-tah-dfh),  con,  Maestevole  {iiiah'- 
es  -  ta  -  vfl  -  Ich  ),  Maestevolmente  (  vol- 
>neni-e),  Maestosamente  [jnah' -es-to-sah- 
tnen'-^ek).  All  mean  the  same  thing: — 
Dignified  ;   with  dignity. 

Maestoso  (It.)  [tnah-es-to'-sd).  Majestic; 
with  dignity. 

Maestrale  (It.)  {mah-es-trah-IeJi).  "  Mas- 
terful;" the  stretto  of  a  fugue  when  writ- 
ten in  canon. 

Maestro  (It.)  {mah-es-tro).     Master. 

Maestro  al  cembalo.  Old  term  for  conduc- 
tor of  orchestra,  so  called  because  he  con- 
ducted seated  at  the  cembalo,  or  harpsi- 
chord. 

Maestro  del  coro.     Master  of  the  chorus  or 

choir. 

Maestro  del  putti  {del pool' -tee).  Master 
of  the  boys  (choir  boys). 

Maestro  di  capella.  Master  of  the  church ; 
choir-master  ;  also  conductor  of  the  music 
in  the  household  of  a  great  personage. 

Magadis  (Gr. ).  A  string  instrument  tuned 
in  octaves. 

Magas  (Gr. ).      A  bridge. 

Maggiolata  (It.)  (madfo-lak^-tak).  A  spring 
song  (from  Maggio-May). 

Maggiore  (It.)  {madjo'-reh),  Majeur  (Fr.) 
(/iiah-z/ioor),  Dur  (Ger.)  [dukr).     Major. 

Maggot.  Old  English  name  for  a  short, 
slight  composition  of  fanciful  character. 

Magnificat  (Lat.).  Doth  magnify;  opening 
word  of  the  hymn  of  the  Virgin  Mary. 

Main  (Fr.)  {mang).  Hand.  M.  D.  or  droite, 
right  hand  ;   M.  G.  or  gauche,  left  hand. 

Maitre  (Fr.)  {mehtr).      Master. 

Maitrise  (Fr. )  [meh-tt-ees).  A  cathedral  mu- 
sic school. 

Maas,  Louis.  Composer,  pianist ;  Germany. 
B.  1852;  d.  1889. 

MacDowell,    Ed.    A.       Composer,    pianist; 

U.  S.  A.     B.  1861  ;  d.  1908. 
Macfarren,  Sir  G.   A.     Composer,  theorist; 

London.      B.  1813 ;    d.  1887. 

Macfarren,  Walter  C.  Composer,  pianist  ; 
London.      B.  1826;   d.  1905. 

McKenzie,  A.  C.  Composer,  violinist ;  Scot- 
land.    B. 1847. 


Majestatisch  (Ger.)  {mah-yes-tay' -tish). 
Majestically. 

Major  (Lat. ).     Greater. 

Major  Chord  or  Triad.  One  in  which  the 
third  over  the  root  is  major,  i.e.,  two  whole 
tones  above  the  root. 

Major  Scale.  One  in  which  the  third  of  the 
scale  is  a  major  third  above  the  keynote. 
Major  Key,  or  Mode,  or  Tonality,  has  the 

same  meaning. 

Malinconia  ( It. )  [timh-lin-co-nee' -a),  Malin- 
conico,  Malinconoso,  Malinconioso, 
Malinconicamente.  Melancholy  ;  in  a 
sad,  melancholy  manner. 

Mancando  (It.)  [from  mattcare,  to  want; 
fail].  Decreasing;  dying  away  in  loudness 
and  speed. 

Manche  (Fr.)  {inans/i),  Manico  (It.)  {muh'- 
nee-ko).     Handle  ;   neck  of  violin,  etc. 

Mandola  (It.),  Mandora.  A  large  man- 
dolin. 

Mandolin,  Mandolino  (It.)  {man-do-lee-no). 
A  string  instrument  of  the  lute  family,  strung 
with  eight  wire  strings  tuned  in  pairs  ;  the 
tuning  same  as  the  violin  ;  played  by  means 
of  a  small  plectrum  ;  fingerboard  fretted  like 
the  guitar. 

Mandolinata  (It.).  Resembling  the  man- 
dolin in  effect. 

Manichord  [from  \^2X.  ,m anus,  \\2iwA,  chorda, 
string].  Supposed  to  be  the  earliest  form 
of  a  string  instrument,  with  keyboard,  pos- 
sibly the  same  as  the  clavichord. 

Manier  (Ger.)  {mah-neer').  A  harpsichord 
grace. 

Maniera  (It.)  {man-ych' -ra).   Manner;  style. 

Mannerchor  (Ger. )  {t7ian'-ner-kor).  A  men's 
chorus. 

Mannergesangverein.  Lit.,  men's  song- 
union. 

Mano(It.).  Hand.  D.  or  destra,  right  hand  ; 
S.  or  sinistra,  left  hand. 

Manual  [from  Lat. ,  manus,  hand].  An  organ 
keyboard. 

Marcando,  Marcato.  Decided  ;  marked, 
with  emphasis. 

Marcatissimo.     As  decided  as  pos.sible. 

Maelzel,  J.  N.  {male-tsel).  Inventor  of  the 
metronome  ;   P'rance.      B.  1772  ;  d.  1838. 

Maggini,  G.  P.  {mad - Jee'-nee).  Violin- 
maker;   Italy.     B.  1581  ;  d.  1632. 

Malibran,  Maria  F.  {m a li' -lee-bran).  So- 
prano;  Paris.      B.  1808  ;  d.   1836. 

Marchesi,  Mathilde  de  C.  {mar-keh'-see). 
Soprano  ;   Germany.      B.   1826. 

Maretzek,  Max.  Composer,  conductor; 
Brunn.     B. 1821;  d.  1897. 


MARCH 


58 


MEISTERSANGER 


March,  Marche  (Fr. )  (warj/5),  Marcia  (It.) 
[mar-ckee-a),  Marsch  (Ger. )  [marsh).  A 
composition  with  strongly  marked  rhythm, 
designed  to  accompany  the  walking  of  a 
body  of  men.  Marches  vary  in  tempo  from 
the  slow,  funeral  march  to  the  "charge." 
The  following  are  the  principal  varieties  : 
Parade  March  (Ger. ,  Faraden-MajscA ; 
Yr.,  pas-ordiitaire);  Quick-march  or  Quick- 
step (Ger.,  Gesc/nvind-JMarsch  ;  Fr. ,  pas 
redouble)  ;  Charge  (Ger. ,  Sturin-Marsch  ; 
Fr. ,  pas-de-charge).  The  funeral  march 
and  parade  march  are  generally  in  \  time  ; 
the  quick  marches  often  in  |  time. 

Mark.     A  sign,  q.  v. 

Markiert  (Ger.)  {mar' -keert) ,  Marque  (Fr.) 
[jiiar-kay).     See  Af areata. 

Marseillaise  (Fr. )  [mar-sel-yase).  The 
French  national  song,  composed  by  Rouget 
di  Lisle. 

Martele  (Fr.)  (w^?;--A'/-M'),  Martellato  (It.) 
[viar-td-lah' -to).  Hammered.  In  piano  mu- 
sic indicates  a  heavy  blow  with  stiff  wrist ; 
in  violin  music,  a  sharp,  firm  stroke. 

Marziale  (It.)  [inart-se-a'-leh).     Martial. 

Maschera  (It.)  (tnas-kay'-ra).     A  mask. 

Mascherata  (It.)  [inas-kay'-ra-ta).   A  mask. 

Masque.  Mask.  A  species  of  musical  and 
dramatic  entertainment  founded  on  mythical 
or  allegorical  themes. 

Mass,  Missa  (Lat.),  Messa  (It.),  Messe 
(Fr.  and  Ger.).  The  communion  service  in 
the  Roman  Catholic  Church.  In  music,  that 
portion  of  the  service  consisting  of  the 
Kyrie,  Gloria,  Sanctus,  and  Agnus  Dei, 
which  are  .sung.  The  word  mass  is  gener- 
ally explained  as  being  derived  from  the 
words  "//i?  missa  est,'''  used  to  dismiss 
non-communicants  before  the  service.  High 
Mass  is  used  on  feasts  and  festivals.  Low 
Mass  on  ordinary  occasions,  sometimes 
without  music. 

Mario,  G.  (niah'-ree-o).  Tenor;  Italy.  B. 
1812  (?)  ;  d.  1883. 

Marmontel,  A.  F.  Pianist,  composer ;  France. 
B.  1S16;  d.  1898. 

Marpurg,  F.  W.  Composer;  Germany.  B. 
1718;   d.  1795. 

Marschner,  H.  {marsh' -nehr).  Composer, 
conductor;  Germany.      B.  1795;  d.  1861. 

Martini,  G.  B.  {mar-tee' -nee).  Composer, 
theorist;   Italy.     B.  1706;  d.  1784. 

Marx,  Ad.  B.  Theorist ;  Germany.  B. 
1799  ;  d.  1865. 

Mason,  Lowell.  Composer,  writer ;  U.  S.  A. 
B.  1792;  d.  1872. 

Mason,  William  (son  of  L.).  Composer, 
pianist  ;   U.  S.  A.      B.  1829 ;    d.  1908. 

Massenet,  Jules  F.  E.  {rnas-seh-neh').  Com- 
poser;   France.      B.  1842. 


Massig  (Ger.)  {may'-sig).  Moderate;  mod- 
erate. 

Massima  (It.).    Whole  note. 

Master  Chord,     The  dominant  chord. 

Master  Fugue.     One  without  episodes. 

Master  Note.     The  leading  note. 

Masure  {mah-soo-re),  Masurek,  Masurka, 
Mazurka.     A  Polish  dance  in  \  time. 

Matelotte  (Fr.).  A  sailors'  hornpipe  dance 
in  I  time. 

Matinee  (Fr. )  {ma-tee-neh'\.  A  morning 
concert. 

Mean.  Old  name  for  an  inner  part  in  music 
for  voices ;  also  for  inner  strings  of  viol, 
lute,  etc.  The  C  clef  was  also  called  the 
mean  clef. 

Measure.  (l)  Old  name  for  any  slow  dance. 
(2)  The  portion  of  music  enclosed  between 
two  bars.      (3)   Rhythm.      (4)   Tempo. 

Mechanism,  Mecanisme  (Fr. ),  Mechanik 

(Ger.).     (I)  A  mechanical  appliance.      (2) 
Technical  skill. 

Medesimo  (It.)  {mee -deh'- see-mo).  The 
same  as.  Medesimo  tempo,  the  same 
time. 

Mediant.     The  third  degree  of  the  scale. 

Mediation.  That  part  of  a  chant  (Anglican) 
between  the  reciting  note  and  the  close. 

Meisterfuge  (Ger.).     See  Master-fugue. 

Meistersanger  (Ger.).  Master-singers;  the 
successors  of  the  minnesingers  or  Trouba- 
dours ;  the  most  renowned  was  Hans  Sachs, 
of  Nuremberg,  the  hero  of  Wagner's  opera, 
"  Der  Meistersanger."  The  meistersanger 
first  appeared  in  the  14th  century.  They 
were  for  the  most  part  workingmen,  differ- 
ing in  this  respect  from  their  predecessors, 
the  minnesingers,  who  numbered  royal  and 
noble  singers  in  their  ranks.  The  meister- 
sanger only  became  extinct  in  1839,  when 
their  last  society  in  Ulm  was  dissolved. 

Materna,  Anialie.  Soprano  ;  Germany. 
B.  1847. 

Mathews,  W.  S.  B.      W^riter,  pianist ;   U.  S. 

A.  B.  1837. 

Mattel,  Tito  {mat-teh'-ee,  tee' -to).    Composer, 

pianist ;   Italy.      B.  1841. 
Maurel,  Victor  (w(7-r^/).      Baritone;   Prance. 

B.  1847. 

Mayer,  Karl.  Composer,  pianist ;  Germany, 
B.  1799;  d.  1862. 

Mayseder,  J.  {juy'-seh  -der).  Violinist; 
Austria.      B.  1789;  d.  1863. 

Mazas,  J.  F.  (w:z/i''-s»/i).  Violinist;  France. 
B. 1782;  d.  1849. 

Mazzinghi,  J.  {mat-siii-gee).  Composer; 
London.      B.  1765 ;   d.  1844. 

Mehlig,    Anna.       Pianist;     Germany.      B 

1846. 


MELANCOLIA 


59 


METRE 


Melancolia  (It.),  Melancholic  (Fr. ).     See 

Aldliiiconia. 
Melange  (Pr.j  [jnch-loiizh).     A  medley. 

Melisma  (Gr.).  (i)  A  song  ;  melody.  (2) 
A  run  ;  roulade. 

Melismatic.  Florid  vocalization.  A  melis- 
matic  song  is  one  in  which  a  number  of 
notes  are  sung  to  one  syllable,  as  in  the 
tlorid  passages  in  Handel's  solos. 

Melodeon.  The  precursor  of  the  cabinet 
organ  ;  an  instrument  with  free  reeds,  oper- 
ated by  suction. 

Melodia  (It.),  (i)  Melody.  (2)  An  organ- 
stop  of  8-  or  4foot  pitch;  soft,  flute-like 
quality. 

Melodic.  Pertaining  to  melody,  as  opposed 
to  harmonic. 

Melodico,  Melodicoso  (It.).      Melodiously. 

Melodie  (Fr. j.      Melody;  air. 

Melodrama.  A  play  abounding  in  romantic 
and  dramatic  situations,  with  or  without 
musical  accompaniment.  Melodramatic 
music  is  music  used  to  accompany  and 
"intensify"  the  action  of  a  drama.  The 
term  is  also  applied  to  instrumental  music 
abounding  in  startling  changes  of  key  or 
sudden  changes  of  loud  and  soft. 

Melody.  An  agreeable  succession  of  single 
sounds,  in  conformity  with  the  laws  of 
rhythm  and  tonality.  In  music  for  voices 
the  melody  is  generally  in  the  soprano,  or, 
if  for  male  voices,  in  the  first  tenor,  but 
there  are  many  exceptions  to  this.  In 
orchestral  music  it  is  even  less  necessary 
that  the  melody  should  be  in  the  highest 
part,  as  the  varying  "tone  color"  of  the 
instruments  used  is  enough  to  give  it  the 
necessary  prominence. 

Melograph.  A  mechanical  device  for  record- 
ing improvisation  on  the  piano-forte.  Many 
attempts  have  been  made  to  produce  such  a 
machine,  but  with  only  partial  success. 

Melopiano.  A  piano-forte  in  which  a  con- 
tinuous tone  was  produced  by  a  series  of 
small  hammers  which  struck  rapidly  re- 
peated blows  on  the  strings.  Invented  by 
(!aldara  in  1870.  It  was  re-invented  in 
1893  by  Hlavac  of  St.  Petersburg,  and 
exhibited  at  the  Columbian  Exposition, 
where  it  attracted  great  attention. 

Melos  (Gr. ).  Melody.  Used  by  Wagner  as 
a  name  for  the  recitative  in  his  later  works. 

Mime  (Fr. )  [inavie).     The  same. 

Men.  (It.).  Abbreviation  for  Meno,  less  ;  as, 
Meno  mosso,  slower,  less  motion. 

Menestral  (Fr. ).      Minstrel  ;   Troubadour. 

Menetrier  (Fr. )  [iiieh-neh' -tree-eh).  A  fiddler. 

Mehul,  E.  N.  (n/nv-ool).  Composer;  France. 
B.   1763;  d.   1817. 

Mendelssohn,  J.  L.  Felix  B.  Composer, 
pianist ;   Germany.      B.  1809  ;   d.   1847. 


Mente  (It. )  (w£'«-/('/;).  Mind.  Alia  ment#, 
improvised. 

Menuet  (Fr. )  {tne-iioo-e/i) ,  Menuett  (Ger.), 
Minuetto  (It.).  Minuet;  a  slow,  stately 
dance  in  |  time,  retained  as  one  of  the 
members  of  the  sonata,  quartet,  symphc/ny, 
etc. ,  until  Beethoven  changed  it  into  the 
scherzo. 

Mescolanza  (It.)  (^nies  -  co  -  lanl^-  sa).  A 
medley. 

Messa  di  voce  (It.)  [fiiessa-dee-vo-chefi). 
Swelling  and  diminishing  on  a  sustained 
sound;    literally,  "massing  of  the   voice." 

Mestizia  (It.)  [iiu's-tit'-sia),  con.  With  sad- 
ness. 

Mesto   (It.)   [tnehs-to).      Gloomy;   mournful. 

Mestoso,  Mestamente.    Mournfully  ;  sadly. 

Mesure  (Fr. )  [me/i-soor).  Measure.  A  la 
mesure,  in  time. 

Metal  Pipes.  Organ-pipes  made  of  tin,  zinc, 
etc. 

Metallo(It. ).  Metal;  a  metallic  quality  of 
tone.  Bel  metallo  di  voce,  fine,  "  ring- 
ing" quality  of  voice. 

Method,  Methode  (Fr.)  {meh-tode),  Metodo 
(It.),  (i)  System  of  teaching.  (2)  Man- 
ner of  using  the  voice,  or  of  performing  on 
an  instrument. 

Metre  or  Meter  [Gr. ,  nietron,  a  measure]. 
Properly  belongs  to  poetry,  from  whence  it 
is  transferred  to  music.  In  poetry  it  has 
two  meanings:  (l)  As  applied  to  a  group 
of  syllables  ;  (2)  as  applied  to  the  number 
of  these  groups  in  a  Hne.  English  prosody 
recognizes  four  groups  of  syllables,  called 
feet:  (l)  The  Iambus,  consisting  of  a  short 
or  unaccented  syllable  followed  by  a  long 

or   accented   syllable,  as,  be-fore  ;    (2)  the 

Trochee,  which  is  just  the  reverse,  as,  mu-sic  ; 
(3)    the  Anapest,  two  short  followed  by  a 

long, as,re-pro-duce  ;   (4)  the  Dactyl,  which 

is  just  the  reverse,  as,  fear-fully.  As  ap- 
plied to  lines  (verses).  Long  Meter  signifies 
four  iambic  feet  in  every  line  ;  Common 
Meter  (also  called  Ballad  Meter)  an 
alternation  of  four  and  three  iambic  feet ; 
Short  Meter,  two  lines  of  three  feet,  one 
of  four,  and  one  of  three  in  every  stanza. 
Trochaic,  Anapestic,  and  Dactyllic  Meters 
are  indicated  by  figures  giving  the  numbf^y 
of  syllables  in  each  line,  as  8,  6,  8,  6,  etc 
It  is  important  to  the  musician  to  become 
thoroughly  familiar  with  prosody,  lest  he 
fall  into  the  too  common  error  of  setting 
short  syllables  to  the  accented  beats  of  the 
measure,  or  the  reverse. 


Ba 


B. 


Minter,    Sophie.       Pianist 

1848. 

r/lercadante,   S.    [mehr-ka-dan' -teh).      Com 
poser;   Italy.      B.  1795  ;   d.  1870. 


METRONOME 


60 


MODE 


Metronome  [Gr.,  tnetron,  measure;  nomas, 
rulej.  A  mechanical  device  for  determin- 
ing the  time- value  of  the  beat  The  one 
in  ordinary  use  is  attributed  to  Maelzel, 
whose  name  it  bears.  It  consists  of  a 
pendulum  with  two  bobs,  one  of  which  is 
movable,  driven  by  clockwork  ;  back  of 
the  movable  bob  is  a  graduated  scale.  It  is 
used  as  follows:  If  the  metronomic  indica- 
tion at  the  beginning  of  a  piece  of  music  in 
\  time  is    I  —  lOO   (^-note   equal   to   lOo), 

the  movable  bob  is  slid  along  the  rod  until 
it  is  opposite  the  figures  loo,  the  pendulum 
is  set  in  motion,  and  one  swing  —  indicated 
by  a  sharp  click — is  allowed  to  every  beat. 

Mettez  (Fr.)  {i/iel-teh).  Put;  in  organ  music 
used  in  the  sense  of  "draw"  or  "add" 
any  stop  or  stops. 

Mezzo  or  Mezza  (It.)  {med-zo).     Half. 

Mezzo  Aria.  A  style  of  singing  in  which  the 
distinctness  of  recitative  is  aimed  at ;  also 
called  Aria  parlante,  "  speaking  aria." 

Mezzo  Forte.     Half  loud. 

Mezzo  Piano.     Half  soft. 

Mezzo  Soprano.     The  female  voice  between 

the  alto  and  soprano. 

Mezzo  Tenore.    A  tenor  with  range  of  bari- 
tone. 
Mezzo  Voce.     Half  voice. 

Mi  (It.)  [iiiee).  The  name  of  E  in  French, 
Italian,  and  Spanish.  Mi  contra  fa  (mi 
against  fa),  the  interval  from  F  to  Btj ;  the 
tritone  ;  three  whole  tones. 

Middle  C.  The  C  half  way  between  the  fifth 
line  of  the  bass  staff  and  first  line  of  the 
treble  staff;  the  C  always  indicated  by  the  C 

Militairemente  (Fr.)  {7?iee-lee-tehr-mong), 
Militarmente  (It.)  {mee-lee-tar-me7i-teh). 
Military  style. 

Military  Band.  Consists  of  (i)  brass  instru- 
ments only ;  (2)  saxophones ;  (3)  brass 
instruments  and  clarionets ;  (4)  brass,  wood, 
and  saxophones. 

Minaccivole  (It. )  [inin  -  nat  -  chee'-  vo  -  leh), 
Minnacivolmente  'yiiiin-nat-chee-vol-men' - 
te/i),  Minnacciando  (jtiin-nat-chee-an' -do), 
Minnacciosamente  {inin  -  nat  -  chee-o-sa- 
nien'-  te/i),  Minnaccioso  [niin- nat  -  chee- 
o^-so).      Menacing;   threatening. 

Mineur  (Fr.)  (vtee-noor).     Minor. 

Minim.     A  half-note. 

Merkel,  Gustav.  Organist,  composer;  Ger- 
many.     B.  1827  ;   ci.  1885. 

Merz,  Carl  (wfT/.?).  Composer,  writer  ;  Ger- 
many.     B.  1834;  d.  1S93. 

Meyer,  Leopold  von.  Pianist ;  Austria.  B. 
"  1814;    d.  1883. 


Minnesanger  (Ger.).  German  name  foi 
Troubadour ;   literally,  love-singer. 

Minor  (Lat.).     Lesser. 

Minor  Chord.  The  third  above  the  root 
minor. 

Minor  Interval.  One  half-tone  less  than 
major. 

Minor  Scale.  The  third  degree,  a  minor 
third  above  the  key-note. 

Minstrel.  See  Troubadour.  Minstrel  has 
been  adopted  as  the  name  of  the  imitation 
Ethiopians  who  sing  songs  su]iposed  to  be 
illustrative  of  the  manners  and  customs  of 
the  plantation  negroes  in  the  days  of 
slavery. 

Minuet.     See  Menuet. 

Mise  de  voix  (Fr.)    {tneese   de  z'o-a).      See 

A/c'ssa  di  voce. 
Mise    en    scene    (Fr. )    [meese   otig  scayne). 

The  "getting  up;"   putting  on   the   stage 

of  a  play,  opera,  etc. 

Misteriosamente.     Mysteriously. 

Misterioso  (It.).     Mysterious. 

Misurato  (It.)  {inee-soo-rah'-to').  Measured; 
in  strict  time. 

Mit  (Ger.).     With. 

Mit  Begleitung  [l>e-gky'-toonk).  With  ac- 
companiment. 

Mixed  Cadence.  A  close,  consisting  of  sub- 
dominant,  dominant,  and  tonic  chords,  so 
called  because  it  includes  the  characteristic 
chords  of  both  the  plagal  and  authentic 
cadences,  viz.  :   subdominant  and  dominant. 

Mixed  Chorus,  )    Male    and  female    voices 

Mixed  Voices.    J        together. 

Mixolydian.     See  Mode. 

Mixture.  An  organ-stop  with  from  three  tc 
six  small  ]:)ipes  to  each  note,  tuned  to 
certain  of  the  overtones  of  the  fundamental 
(diapason)  used  in  full  organ  only. 

Mobile  (It.)  {iiio'-bee-lelt).  With  motion; 
mobile. 

Mode  [Lat.,  wipo'z/j,  manner,  way].  (i)  A 
scale  in  Greek  and  ecclesiastical  music.  (2) 
In  modern  music  used  only  in  conjunction 
with  the  terms  major  and  minor,  as  Major 
Mode,  Minor  Mode.  Greek  Modes ; 
the  scale  system  of  the  Greeks  is  not  yet 
quite  satisfactorily  made  out.  According 
to  Chappel,  who  is  considered  the  best 
authority,  the  succession  of  whole  and  half 
tones  was  the  same  in  all  the  modes,  their 
only  difference  being  in  pitch.      He  gives 

Meyerbeer,  G.  Composer;  Germany.  B. 
1791 ;  d.  1S64. 

Mills,  S.  B.  Composer,  pianist ;  England. 
B.   1839;   d.  1898. 

Mohr,  Hermann.  Composer,  conductor ;  Ger- 
many.    B.  1830;  d.  I^ 


MODERATAMENTE 


61 


MORDENT 


the  following  as  the  initial  notes  of  the 
principal  modes :  Dorian  (the  standard 
mode)  D,  Phrygian  E.  Lydian  F^J,  Mixo- 
lydian  G.  Those  modes  the  initial  notes 
of  which  are  below  the  Dorian  weie  dis- 
tinguished by  the  prefix  hypo,  beneath,  as 
Hypolydian  C#,  Hypophrygian  15,  Hypo- 
dorian  A.  The  succession  of  sounds  was 
like  that  of  the  natural  scale  of  A  minor. 
Church  (or  ecclesiastical),  or  Gregorian,  or 
Ambrosian  modes  were  derived  from  tlie 
Greek  modes,  but  discarded  the  chromatic 
sounds.  Thus  the  Dorian  and  Plirygian 
were  the  same,  that  is,  had  the  same  initial 
sounds,  but  the  Lydian  began  on  ¥  instead 
of  F#.  There  are  other  diH'erences  between 
the  Greek  and  the  Church  modes,  viz.  :  The 
first  four  are  called  authentic  ;  those  the 
initial  notes  of  which  are  below  the  Dorian 
are  called  plagal ;  each  plagal  mode  is  con- 
sidered as  the  relative  of  the  authentic 
mode,  beginning  a  4th  above  it.  The  final 
of  a  plagal  is  always  made  on  the  initial 
note  of  its  related  authentic  mode.  If  the 
interpretation  of  the  Greek  modes  is  to  be 
trusted,  the  church  modes  seem  to  have 
arisen  from  a  misunderstanding  of  the 
Greek  modes. 

Moderatamente  (jiiod-e-rah  -  tali  -  men'-teh). 
Moderately. 

Moderatissimo  {niode-rah-tis'-see-nio).  Very 
moderate. 

Moderato   (It.)   [niod-c-rah' -to).      Moderate. 

Moderazione  (It.)  [nto  -  deh-  rat-se  -o'-neli), 

con.     Witli  moderation. 
Modificazione  ( It. )  i  ino-dee-fee-cat-se-o'-neli). 

Modification  ;   light  and  shade. 

Modinha  (Port.)  [iito-deen'-ya).  Portuguese 
love-song. 

Modo  (It.).      Mode;   style. 

Modulation.  (i)  Gradation  of  sound  in 
intensity.  (2)  Change  of  key  or  tonality. 
Diatonic  modulation  moves  from  one  key  to 
another  by  means  of  chords  from  related 
keys ;  chromatic  modulation,  by  means  of 
chords  from  non-related  keys;  enharmonic 
modulation,  by  substituting  #  for  |2,  or  tlie 
reverse.  A  passing  or  transient  modulation 
is  one  followed  by  a  quick  return  to  the 
original  key.;  the  signature  is  not  changed 
in  a  modulation  of  this  kind.  A  final  mod- 
ulation is  one  in  which  the  new  key  is 
retained  for  some  time,  or  permanently  ;  it 
is  generally  indicated  by  a  change  of  signa- 
ture following  a  double  bar. 

Modus  (Lat.).     Mode;  scale. 

Moll  (Ger.)  [Lat.,  mollis,  soft].      Minor. 

Molique,  B.  {tno-leek).  Composer,  violinist ; 
Bavaria.     B.  1803  ;  d.   1869. 

Molloy,  J.  L.  Composer;  Ireland.  B.  1837; 
d.  1909. 

Monteverde,  C.  {inon-teh-ver' -deli).  Com- 
poser;  Italy.      B.  1568;  d    16^3. 


Moll-Akkord.     Minor  chord. 
Moll-Tonart.      Minor  key  or  mode. 
MoU-Tonleiter.        Minor     scale ;     literally, 
tone-ladder. 

Molle  (Lat.).  Soft;  medieval  name  for  BJZ, 
Bn  being  called  B  durum  (hard).  Tlie 
German  words  for  minor  and  major  [1110//, 
dur)  are  derived  from  these  terms,  also  the 
French  and  Itahan  names  for  the  flat  sign, 
viz.,  French,  beinol ;  Italian,  bei)iolle. 

Mollemente  (It.)  \^mol-leh-iiien-teh).  Softly; 
sweetly. 

Molto  (It.).  Very  much.  Di  molto,  ex- 
ceedingly ;  as  Allegro  di  molto,  exceed- 
ingly rapid. 

Monferina  (It.)  {mon-feh-ree' -nah).  Italian 
peasant  dance  in  \  time. 

Monochord  [Gr. ,  tiionos,  one;  chorda, 
string].  An  instrument  consisting  of  a 
single  string  stretched  over  a  sound  board, 
on  which  is  a  graduated  scale  giving  the 
proportionate  divisions  of  the  string  required 
for  the  production  of  perfect  intervals.  A 
movable  bridge  is  placed  at  the  points  indi- 
cated on  the  scale.  The  Monochord  was 
formerly  used  as  a  means  for  training  the 
ear.  It  is  now  used  only  for  acoustic 
experiments. 

Monody.  (l)  A  song  for  a  single  voice 
unaccompanied.  (2)  In  modern  usage  it 
denotes  a  composition  in  which  the  melody 
is  all-important,  the  remaining  parts  simply 
accompaniment  ;  called  also  Homophony 
and  Monophony, — the  antithesis  of  Po- 
lyphony. 

Monotone.     Recitative  on  a  single  sound. 

Montre  (Fr.)  {nioiigtr).  Lit.,  displayed. 
The  open  diapason,  so  called  because  the 
pipes  are  generally  placed  in  the  front  of  the 
case  and  ornamented. 

Morceau  (Fr.)  (jnor-so').  A  "morsel;"  a 
short  piece  ;   an  extract. 

Mordent,  Mordente   (It.),  Beisser  (Ger.). 

A  sign  /yV  indicating  a  single  rapid 
stroke  of  the  auxiliary  note  below  the  princi- 
pal followed  by  a  return  to  the  principal. 
Thus — 


Plaved. 

V 

/i        p    »    » 

vT      '    '       ' 

When  the  sign  is  used  without  the  dash 
through  it,  thus  /VV  it  is  called  an 
Inverted  Mordent,  or  Pralitriller,  and  con- 
Morgan,  G.  \V.  Organist;  England.  B. 
1823;  d.  1895. 

Moscheles,  Ignaz  {^inosh'-e-lehs).  Composer, 
pianist;  Bohemia,  Germany.  B.  1794; 
d.  1870. 


MORENDO 


62 


MUTIG 


sists  of  the  principal  and  the  auxiliary  note 
above.      Thus — 


/W 


P laved. 


The  Mordent  proper  is  not  used  in  modern 
music,  and  the  word  Mordent  is  now  by 
common  usage  applied  to  the  inverted  Mor- 
dent, or  Pralltriller. 

Morendo  (It.)  [from  tnorire,  to  die].  Dying 
away  ;  gradually  growing  softer  and  slower. 

Morisca  (It.).     Morris  dance. 

Mormorando,  Mormorevole,  Mormorosa 
(It.).      Murmuring. 

Morris  Dance.  A  rustic  dance  of  Moorish 
origin. 

Mosso  (It.).  Moved.  Piu  mosso,  faster. 
Meno  mosso,  slower. 

Mostra  (It.).  A  direct  /\\^  ,  generally 
used  in  manuscript  music  to  indicate  an 
unfinished  measure  at  the  end  of  a  brace. 

Moteggiando  (It.)  {mo-ted-jan'-do).  Banter- 
ing ;  jocose. 

Motett,  Motetto  (It.).  A  vocal  composition 
to  sacred  words,  written  in  strict  contra- 
puntal style.  The  madrigal  differs  only  in 
being  set  to  secular  words.  Many  modern 
compositions  to  sacred  words  (not  metric) 
are  called  motetts,  but  would  more  properly 
be  called  anthems. 

Motif  (Fr.),  Motivo  (It.),  Motiv  (Ger.). 
Motive.  (l)  A  short,  marked  musical 
phrase.  (2)  A  theme  for  development. 
See  Leitmotiv. 

Motion,  Moto  (It.).  Conjunct  Motion, 
movement  by  degrees.  Disjunct  Motion, 
movement  by  skips.  Direct,  Similar,  or 
Parallel  Motion,  when  two  parts  ascend 
or  descend  together.  Contrary  Motion, 
when  two  parts  move  in  opposite  directions. 
Oblique  Motion,  when  one  part  is  station- 
ary while  the  other  moves. 

Mouth.  The  opening  in  the  front  of  an 
organ  flue-pipe. 

Mouth-organ.  The  harmonica ;  Pandean 
pipes. 

Mouth-piece.  In  brass  instruments  the  cup- 
shaped  part  applied  to  the  lips ;  in  oboe, 
clarionet,  etc.,  the  part  held  between  the 
lips.  \Yx.,eitdwiichure ;  It.,  itiiboccatura ; 
Ger.,  Mundstiick.'\ 

Movement,  Mouvement  (Fr.)  [vior'e-mong). 
(I )   Tempo.      (2)  One  of  the  members  of  a 

Moszkowski,  M.  {mosh-kow'-skee).  Com- 
poser, pianist ;   Poland.      B.  1854. 

Mozart,  Leopold  {nio'-tsart).  Violinist; 
Austria.      B.  1719;  d.  1787. 

Mozart,  Wolfgang  A.  (son  of  L.).  Com- 
poser, pianist;  Austria.     B.  1756;  d.  1791. 


sonata,  symphony,  etc.     (3)   The  motion  of 
a  part  or  parts. 
Movimento  (It.).    Movement ;  tempo.    Dop- 
pio  movimento,  double  movement ;   when 

a  change   of  time  signature  from  ^  to     ^ 

occurs,  and  it  is  desired  to  preserve  tlie 
same  rate  of  movement,  or  tempo,  /'.  t\,  the 
quarter-note  beat  becomes  the  half-note  beat. 

Munter  (Ger.).     Lively;   brisk;   allegro. 

Murky.  An  old  name  for  a  piece  of  harpsi- 
chord music  with  a  bass  of  broken  octaves. 

Musars.     Troubadour  ballad  singers. 

Musette  (Fr.).  (i)  A  bagpipe.  (2)  An  old 
dance.  (3)  In  the  suite  the  second  part  or 
"trio"  of  the  gavotte,  etc.,  is  frequently  so 
called,  and  is  written  in  imitation  of  bagpipe 
music.      (4)   A  soft  reed-stop  in  the  organ. 

Music,  Musica  (Lat.  and  It.),  Musique 
(Fr. ),  Musik  (Ger.)  [from  Gr.,  i/ionsi/:t\ 
from  ntousa,  muse].  Originally  any  art 
over  which  the  Muses  presided,  afterward 
restricted  to  the  art  that  uses  sound  as  its 
material. 

Music  Box.  An  instrument  in  which  steel 
tongues  are  viljrated  by  means  of  pins  set  in 
a  revolving  cylinder. 

Musical  Glasses.  An  instrument  consisting 
of  a  number  of  goblets,  tuned  to  the  notes 
of  the  scale,  vibrated  by  passing  a  wetted 
finger  around  the  edge. 

Musician.  (i)  One  who  makes  a  livelihood 
by  playing,  singing,  or  teaching  music.  (2) 
A  member  of  a  regimental  or  naval  band. 
(3)  A  composer  of  music.  "Musician"  is 
a  very  elastic  term  ;  it  includes  every  grade 
from  the  drummer  and  fifer  to  Mozart. 

Musikant  (Ger.).     A  vagabond  musician. 

Musiker,  Musikus  (Ger.).  A  musician. 
(Generally  used  in  a  derogatory  sense.) 

Mutation  Stop.  Any  organ-stop  not  tuned 
to  the  diapason  or  any  of  its  octaves,  as 
the  tierce,  quint,  twelfth,  larigot,  etc.  Stops 
of  this  kind  (also  mi.xtures,  cornets,  sesqui- 
alteras)  are  used  for  the  purpose  of  "filling 
up"  the  volume  of  tone  and  giving  it 
greater  brilliancy. 

Mute  [It.,  sordino;  Fr. ,  sourdine:  Ger., 
Ddvipfe7-\.  A  small  contrivance  of  wood 
or  metal  placed  on  the  bridge  of  the 
violin,  etc.,  to  deaden  the  sound  ;  a  cone  or 
cylinder  of  pasteboard,  leather,  or  wood 
plnced  in  the  bell  of  a  brass  instrument  for 
the  same  purpose. 

Mutig  (Ger.)  {moo-tig).  Bold;  spirited; 
vivace. 

Mozart,  W.  A.  (son  of  preceding).  Com- 
poser, pianist.      B,  179I  ;  d-  1844. 

Murska,  lima  de.  Soprano;  Croatia.  B. 
1835;  d.  1889. 

Mysleweczek,  f.  {i>iis'-leh-veh-chek'].  Com- 
poser; Bohemia.     B.  1737  >  d.  17S1. 


NACAIRE 


63 


NINETEENTH 


N 


Nacaire  (Fr.)  [nah-kehr').     A  large  drum. 

Nacchera  (It.)  {iiak-keli'-rah^.  Military 
drum. 

Nach  (Ger.).  After;  according  to;  resem- 
bling. 

Nach   Belieben.     At  pleasure ;    ad  libitum. 

Nach  und  nach.     By  degrees  ;   pocoa  poco. 

Nachahmung.     Imitation. 

Nachdruck.     Emphasis. 

Nachlassend.     Retarding. 

Nachsatz.     Closing  theme  ;   coda. 

Nachspiel.     Postlude. 

Nachthorn  (Ger.).  Night-horn.  An  organ - 
stop;  large-scale  closed  pipes,  generally  8- 
foot  tone. 

Na'if  (Fr.),  masc.  [nah-if),  fem.  Naive  [jtah- 
eve).      Simple;   natural;    unaffected. 

Naiv  (Ger. )  (ytia/i-if).     "See  iVaif. 

Naivement  (Fr. )  [na-eve-mong).     Artless. 

Naivete  (Fr.)  (tia-eve-tefi) .     Simplicity. 

Naker.     A  drum.      (Obsolete.) 

Narrante  (It.)  [nai--ran-teh).  Narrating. 
A  style  of  singing  in  which  especial  atten- 
tion IS  given  to  distinctness  of  enunciation, 
rather  than  to  musical  effect. 

Nasard,  Nazard,  or  Nassat.  An  organ- 
stop  tuned  a  twelfth  above  the  diapason. 

Nason  Flute.  A  soft,  closed  stop,  4-foot 
pitch. 

Natural.  A  sign  J3  which  restores  a  letter  to 
its  place  in  the  natural  scale.  In  the  ancient 
system  of  music  the  only  changeable  note 
in  the  scale  was  B.  The  sign  for  that  sound 
was  [2,  the  old  form  of  the  letter;  it  signi- 
fied the  sound  we  call  B  Hat  and  was  called 
B  rotundum,  /.  e.,  round  B.  When  it  was 
to  be  raised  a  half  tone  a  line  was  drawn 
downward  at  the  right  side,  thus  jj,  and  it 
was  called  B  quadratum,  i.  e.,  square  B.  In 
our  modern  music  these  have  been  retained 
as  the  signs  for  flat  and  natural. 

Natural  Horn  or  Trumpet.  Those  with- 
out valves  or  slides.  The  sounds  produced 
are  called  natural  harmonics,  and  are  the 
same  as  may  be  produced  by  touching 
lightly  a  vibrating  string  at  any  point  that 
will  cause  it  to  divide  into  equal  parts,  as  2, 
3,  4,  etc. 

Nageli,  J.  G.  {nay' -ge  -  lee).  Composer, 
writer  ;  "Switzerland.     B.  1768  ;  d.  1836. 

Naumann,  Emil  {now-matin).  Composer, 
writer ;  Germany.     B.  1827  ;  d.  1888. 

Neefe,  Ch  G.  [ueh'-fe/i).  Organist,  com- 
poser;  Saxony.     B.  1748  ;  d.  1798. 

Neruda,  J.  B.  G.  (neh-roo' -da) .  Composer, 
violinist;   Bohemia.      B.  1707;  d.  1780. 


Natural  Major  Scale.    The  scale  of  C  major. 

Natural  Minor  Scale,  .\-minor;  also  any 
minor  scale  with  unchanged  6th  and  7th. 

Natural  Pitch.  The  sounds  produced  by 
flute,  clarionet,  etc.,  without  overblowing. 
The  flute,  oboe,  and  bassoon  overblow  at 
the  octave  above  their  fundamental.  The 
clarionet  at  the  12th. 

Naturale  (It.)  [na/i-too-ra/i'-h-Ji),  Naturel 
(Fr.)    [nah  too-rel').      Natural;  unaffected. 

Neapolitan  Sixth.  A  name  given  to  a 
chord  consisting  of  the  subdominant  with 
minor  3d  and  minor  6th,  as  F,  AjZ,  DjZ  ; 
used  in  both  major  and  minor  keys. 

Neben  (Ger.)  [uth'-ben).  Subordinate  ;  ac- 
cessory. 

Neben-Dominant  (Ger.).  The  dominant 
of  the  dominant. 

Neben  -  Gedanken  (Ger.).  Accessory 
themes. 

Nebensatz  (Ger.).  An  auxiliary  theme 
in  sonata,  etc. 

Nebenwerk.  The  second  manual  of  the 
organ. 

Neck  [Ger.,  Hals;  Fr.,  mancke  (mongsh)"|. 
The  "  handle  "  of  violin,  guitar,  etc.;  on 
its  top  is  the  fingerboard  ;  at  its  end,  the 
peg-box. 

Negli  (It.)  {nehl-yee'),  Nei,  Nel,  Nell, 
Nella,   Nelle,  Nello.      In  the  manner  of. 

Negligente  (It.)  {neg-lee-gen'-teh).    Careles.s. 

Negligentimente  (It.)  (jieg-lee-gen-te-inen- 
teh).      Carelessly. 

Negligenza  [neg-lee-gent-sa),  con.  With  care- 
lessness. 

Nel  battere  (It.)  (Imt-fe/i-reh).  At  the 
beat. 

Nel  stilo  antico.      In  the  antique  style. 

Nenia  or  Naenia  (Lat.).     .\  funeral  dirge. 

Nettamente  (It.)  {uctt-a-men-teh).  Neatly; 
clearly. 

Netto  (It.).     Neat ;  exact. 

Neuma,  Neumes.  Signs  used  in  medieval 
notation. 

Nineteenth.  An  organ-stop ;  two  octaves 
and  a  fifth  above  the  diapason. 

Neruda,  Wilhelmina  (Norman).  Violinist; 
Austria ;   B.  1840. 

Neukomm,  S.  Chev.  {tioy'-koni).  Com- 
poser, pianist ;  Austria.     B.  1778;  d.  1858. 

Nicode,  J.  L.  {nee  -  ko  -  day).  Composer; 
Polish  Silesia.     B.  1853. 

Nicolai,  Otto  (nee-ko-lie).  Composer,  organ- 
ist ;  Germany.      B.  1810;   d.  1849. 


NINTH 


64 


NOVELETTE 


Ninth.  An  interval  one  degree  beyond  the 
octave,  being  tiie  second  removed  an  octave  ; 
it  may,  like  the  second,  be  minor,  major, 
or  augmented.  The  minor  and  major 
ninths  are  essential  dissonances,  that  is, 
sounds  derived  from  the  fundamenial ;  with 
the  augmented  ninth  the  lower  sound  is  really 
the  ninth,  thus,  G,  B,  D,  F,  A  or  AJ2,  are 
overtones  of  G,  but  C,  Dq  arise  from  B,  Dti, 
FJj,  A,  C,  chord  of  ninth.  A  chord  consist- 
ing of  root  major  3,  per.  5,  minor  7,  and 
major  or  minor  ninth  may  have  either  major 
or  minor  nintli  in  major  keys,  but  only  the 
minor  ninth  in  minor  keys 

Nobile  (It.)  {no-bee-leli).     Noble;   grand. 

Nobilita  (It.)  {jio-bet-' -lee-la),  con.  With 
nobility. 

Nobilmente    (It.)  [jio-bil-vien-teh).     Nobly. 

Noch  (Ger. ).  Still ;  yet ;  as,  noch  schneller, 
still  faster. 

Nocturne  (Fr.)  {tioc-tcorn),  Notturno  (It.), 
Nachtstiick  or  Nokturne  (Ger.)  [710k- 
loor' -iieli).  Literally,  night-piece  ;  a  quiet, 
sentimental  composition,  usually  in  Lyric 
form,  but  under  the  title  Notturno  im- 
portant compositions  for  several  instruments 
or  full  orchestra  have  been  written  con- 
taining several  movements. 

Nocturns.  Night  services  in  the  R.  C. 
Church,  at  which  the  psalms  are  chanted  in 
portions,  also  called  nocturns. 

Node.  A  line  or  point  of  rest  in  a  vibrating 
body.  A  node  may  be  produced  in  a  vibrat- 
ing string  by  touching  it  lightly.  (C/i  under 
Natural  Horn.)  The  sounds  thus  produced, 
called  harmonics,  are  often  used  on  instru- 
ments of  the  violin  family  and  on  the  harp. 

Noel  (Fr.)  («o-if/),  Nowell  (Eng.).  "Good 
news;"  "Gospel."  Christmas  eve  songs 
or  carols. 

Noire  (Fr.)    (no-ar).      Black;     quarter  note. 

Nonet  [^It  ,  noneflo  :  Ger.,  Aw/^//].  A  com- 
position for  nine    voices  or  instruments. 

Nonuplet.  A  group  of  nine  notes  to  be  played 
in  the  time  of  six  or  eight  of  the  same  value. 

Normal  Pitch.  The  pitch  of  a  sound,  gen- 
erally A  or  C,  adopted  as  a  standard.  This 
standard  for  the  sound  A,  second  space, 
has  varied  from  404  vibrations  per  second 
in  1699  to  455  in  1859.  By  almost  uni- 
versal consent  the  modern  French  pitch  is 
now  adopted,  viz.,  A  ^  435  vibrations  per 
second. 

Nicolini,  E.  i^nik-o-lee'-nee').    Tenor;  France. 

B.  1S34;  d.  1S98. 
Niedermayer,  L.     Composer;    France.     B. 
1802  ;  d.  1861. 

Nilsson,  Christine.  Soprano;  Sweden.  B. 
183 1. 


Notation.  The  various  signs  used  to  repre- 
sent music  to  the  eye,  as  staff',  clefs,  notes, 
rests,  etc.  The  earliest  attempts  at  the 
representation  of  musical  sounds  of  which 
we  have  any  knowledge  were  made  by  the 
Greeks,  who  used  the  letters  of  their  alpha- 
bet, modified  in  various  ways  to  represent 
the  series  of  sounds  they  employed.  Their 
series  of  sounds  is  supposed  to  have  begun 
on  the  note  A,  first  space  in  the  bass  clef. 
From  this  system  music  has  retained  the 
name  of  A  for  this  sound.  The  next 
development  was  the  adoption  of  a  series 
of  signs  called  neumae.  These  signs, 
although  curiously  complicated,  were  yet 
veiy  defective  in  ]>recision,  being  inferior  to 
the  letters  as  indications  of  pitch.  The 
great  want,  both  of  the  letter  system  and 
the  neumae,  was  that  neither  gave  any  indi- 
cation of  the  duration  of  the  sounds.  The 
next  step  was  the  adoption  of  the  staff".  At 
first  use  was  made  only  of  the  spaces 
between  the  lines,  and,  as  notes  had  not  yet 
been  invented,  the  syllables  were  written  in 
the  spaces ;  this  gave  exactness  to  the 
relative  pitch  of  the  sounds  but  no  indica- 
tion of  their  duration.  The  next  step  was 
to  use  the  lines  only,  indicating  the  sounds 
by  small  square  notes  called  points.  The 
letter  names  of  the  lines,  of  which  eight  was 
the  number,  were  indicated  by  Greek  letters 
placed  at  the  beginning.  This,  though  an 
improvement  on  the  plan  of  dislocating  the 
syllables,  was  still  wanting  in  that  no  dura- 
tion was  indicated.  This  desideratum  was 
secured  by  the  invention  of  the  notes, 
attributed  to  Franco  of  Cologne.  Invention 
was  now  on  the  right  track.  The  expression 
of  pitch  and  relative  duration  were  now 
determined  with  exactness.  The  system 
of  notation  now  in  use  is  substantially  the 
same,  modified  and  improved  to  meet  the 
requirements  of  modern  musical  complexity. 

Note.  A  sign  which,  by  its  form,  indicates 
the  relative  duration  of  a  sound,  and  by  its 
position  on  the  staff  the  pitch  of  a  sound. 

Notenfresser  (Ger. ).  "  Note  devourer."  A 
humorous  title  for  a  ready  sight  reader ;  gen- 
erally implies  one  whose  playing  is  more 
notes  than  music. 

Nourri  (Fr.)  {nour-ree).  Nourished;  tin 
son  notirri,  a  well-sustained  sound.  Gener- 
ally applied  to  vocal  sounds. 

Novelette.  A  name  invented  by  Schumann 
and  given  by  him  to  a  set  of  pieces  with- 
out formal  construction,  with  numerous  con- 

Nohl,  Carl  F.   L.       Author ;  Germany.     B. 

1831 ;  d.  1885. 
Nottebohm,   M.    G.    {not'-teh-bome').      Com- 

po-ier,    writer;     Germany.       B.    1817  ;    d. 

1882. 
Nourrit,   \.o\\\'i{noor-ree).      Tenor;    I'rance. 

B.  .1780;  d.  1831. 


NOVEMOLE 


65 


OCTET 


stantly    changing    themes,    giving    expres- 
sion to  a  very  wide  range  of  emotions. 

Novemole  (Ger.)  {no-vehino'-Uh'].  Nonu- 
plet. 

Nuance  (Fr. )  [noo-on^s).  Shading;  the 
variations  in  force,  quahty,  and  tempo,  by 
means  of  which  artistic  expression  is  given 
to  music. 

Number,  (i)  A  movement  of  a  symphony 
or  sonata .  (2)  A  solo,  chorus,  or  other 
separate  part  of  an  opera  or  oratorio, 
etc.  (3)  A  given  piece  on  a  concert  pro- 
gramme. (4)  The  "  opus"  or  place  in  the 
list  of  an  author's  works  as  to  order  of 
composition. 

Nunsfiddle  [Ger.,  Nonnen-Geige\.  Called 
also  Tromba  Marina.  An  instrument  with  a 
distant  resemblance  to    a   double    bass,  fur- 

Nourrit,  Adolphe  (son  of  L.)  [noor-ree). 
Tenor  ;   France.      B.  1802  ;   d.  1839. 

Novello,  Vincent.  Composer,  organist ; 
England.     B.  1781  ;  d.  1861. 

Novello,  Clara  A.  (daughter  of  V.).  So- 
prano; England.    B.  1818. 


nished  with  one  string  and  a  peculiarly  con- 
structed bridge.  The  harm<jiiic  sounds 
only  are  used.  It  gets  its  name  from  the 
fact  that  it  was  formerly  used  in  Germany 
and  France  in  the  convents  to  accompany 
the  singing  of  the  nuns. 

Nuovo  (It.)  [no'-vo),  Di  nuovo.  (Jver 
again  ;   repeat. 

Nut  [Ger., 6'(?//d'/, saddle;  Fr.,«7/^/, button;  It., 
tapo  tasto,  head-stop],  (i)  The  ridge  at  the 
end  of  the  fingerboard  next  the  peg-box  ;  its 
purpose  is  to  raise  the  strings  slightly  above 
the  fingerboard  of  instruments  of  violin  and 
guitar  families.  (2)  [Ger.,  Frosch,  frog; 
Fr. ,  talon,  heel].  The  piece  at  the  lower 
end  of  violin  bow,  etc.,  in  which  the  hair 
is  inserted  and  tightened  or  slackened  by 
means  of  a  screw. 

Novello,  Mary  S.  (daughter  of  V.).  So- 
prano ;   England.      B.  18 — . 

Novello,  Jos.  A.  (son  of  V.).  Bass;  Eng- 
land.     B.  iSio. 

Nunn,  John  H.  Composer,  organist;  Eng- 
land.    B.  1827;  d.  1905. 


o 


O  (It.).     Or;   also  written  od. 

Ob.     Abbreviation  of  oboe  and  obbligato. 

Obbligato  (It.)  [ob-blee-gah'-to].  An  essen- 
tial instrumental  part  accompanying  a  vocal 
solo. 

Ober  (Ger.)  (yO^-behr).      Over;  upper. 

Oberwerk.  The  uppermost  manual  of  an 
organ. 

Oblige    (Fr.)    [o-blee-zheh).     Obbligato. 

Oblique  Motion.  When  one  part  is  station- 
ary while  the  other  ascends  or  descends. 

Oboe  (It.)  {o-bo-eh),  plural,  oboi  (o-bo-ee); 
(Fr.)  Hautbois  [hoboa) ;  (Eng.)  Hautboy 
or  Hoboy  [from  the  French  word  which 
means,  literally,  "high-wood"].  A  wind 
instrument  with  double  reed,  formerly  the 
leading  instrument  in  the  orchestra,  fill- 
ing the  place  now  taken  by  the  violins. 
A  pair  are  generally  employed  in  the  mod- 
ern orchestra.  The  oboe  is  one  of  the 
most  ancient  and  widely  disseminated  of 
musical  instruments.  It  is  the  general  opin- 
ion of  students  of  antiquity  that  many  of 
the  instruments  called  by  the  general  name 
"  tlute  "  by  the  Greeks  were  oboi. 

Oboe.  A  reed-stop  in  the  organ,  of  8-ft. 
pitch,  voiced  to  resemble  the  oboe. 

Oboe  d'amore  (It.)  {dah-mo'-i-eh).  Oboe 
"  of  love  ;"   a  small  soft-toned  oboe. 

Oakeley,  Sir  H.  S.  Composer,  organist; 
England.      B.  1830;  d.  1903. 

5 


Oboe  di  caccia  (It.)  {cat'-cheea).  Oboe  of 
the  chase  ;  a  large  oboe,  used  formerly  as 
a  hunting  signal. 

Oboist,  Oboista  (It.).     An  oboe  player. 

Ocarine,  Ocarina  (It.).  A  small  wind  instru- 
ment of  teiTa  cotta,  with  flute-like  quality 
of  tone, — more  of  a  toy  than  a  musical  in- 
strument. 

Octave,  Ottava  (It.),  Oktave  (Ger.).  (i)  The 
interval  between  a  given  letter  and  its  repe- 
tition in  an  ascending  or  descending  series. 
The  diapason  of  the  Greeks.  (2)  An  organ- 
stop  of  4-ft.  pitch. 

Octave  Flute.     The  piccolo. 

Ottava  bassa.  An  octave  lower  than  writ- 
ten; the  sign  :  8va  Ba 

Ottava  alta  (It.).-  At  the  octave  above;  in- 
dicates that  the  passage  is  to  be  played  an 
octave  higher  than  written,  indicated  by  the 

sign  :    8va 

A  return  to  the  natural  position  of  the  notes 
is  signified  by  the  word  loco  (place),  or  fre- 
quently by  the  cessation  of  the  dotted  line 
thus  :       8va. _ 


Octet,  Octuor,  Ottetto  (It.),  Oktett  (Ger.), 
Octette  (Fr. ).  A  composition  for  eight  solo 
voices  or  instruments. 

Oberthiir,  Ch.  {o'-behr-teer).  Harpist,  com- 
poser ;   Bavaria.      B.  1819;   d.  1895. 


OCTO  BASSE 


66 


OPHICLEIDE 


Octo  basse  (Fr. ).  A  large  double  bass  go- 
ing a  third  lower  than  the  ordinary  instru- 
ment, furnished  with  a  mechanism  of  levers 
and  pedals  for  stopping  the  strings, — an  im- 
portant addition  to  the  orchestra. 

Octuplet.  A  group  of  eight  notes  played  in 
the  time  of  six  of  the  same  value. 

Ode  Symphonic  (Fr.).      Choral  symphony. 

Odeon  (Gr.),  Odeum  (Lat.).  A  building 
in  which  public  contests  in  music  and  po- 
etry were  held.  In  modern  use  as  a  name 
for  a  concert-hall  or  theatre. 

Oder(Ger.).     Or. 

CEuvre  (Fr. )  {ddv>-).     Work;  opus. 

Offen  (Ger.).     Open. 

Offertory,  Offertorio  (It.),  Offertoire  (Fr.) 
{of-fcr-hvar),  Offertorium  (Ger.  and  Lat. ). 
(i)  The  collection  of  the  alms  of  the 
congregation  during  the  communion  service. 
(2)  The  anthem  or  motet  sung  by  the  choir 
at  this  time.  (3)  A  piece  of  organ  music 
performed  during  this  time. 

Ohne  (Ger.)  {o'-neh).  Without,  as  ohne 
Fed.,  without  pedal. 

Olio  [Sp. ,  olio,  from  Lat.,  olla,  pot.  A 
mixture  of  meat,  vegetables,  etc.,  stewed  to- 
gether]. Hence,  a  medley  of  various  airs  ;  a 
potpourri. 

Olivettes  (Fr.)  {o-lee-vei).  Dance  after  the 
olive  harvest. 

Omnes  or  Omnia  (Lat.).  All.  Same  as 
Tutti. 

Omnitonic,  Omnitonique  (Fr.).  All  sound- 
ing, i.e.,  chromatic  ;  applied  to  brass  instru- 
ments. 

Ondeggiamento  (It.)  {on-ded-ja-men'-to), 
Ondeggiante  (It.)  \oii-didjan'-teIi),  On- 
dulation  (Fr. )  {o)i-doo-lali-siong),  Ondule 
(Fr. )  [on-doo-leh) ,  Ondulieren  (Ger.)  {oti- 
doo-lee'-ren').  Waving,  wavy  ;  undulating; 
tremolo. 

Ongarese  (It.)  (pn-gah-reh'-seh').  Hun- 
garian. 

Open  Diapason.     See  Diapason. 

Open  Harmony.  An  equidistant  arrange- 
ment of  the  notes  of  the  chords. 

Open  Notes.  (l)  The  sounds  produced  by 
the  strings  of  a  violin,  etc.,  when  not  pressed 
by  the  finger.  (2)  The  natural  sounds  of 
horn,  trumpet,  etc.,  i.e.,  without  valves. 

Open  Pipe.     An  organ-pipe  without  stopper. 

Open  Score.  One  in  which  each  voice  or 
instrument  has  a  separate  staff  assigned  to  it. 

Open  Strings.     See  Open  Azotes  (l). 

Oesten,  Theodor.  Composer,  pianist ;  Ger- 
many.     B.  1813  ;  d.  1870. 

Offenbach,  Jacques.  Composer,  conductor, 
violoncellist;  Germany.    B.  1819;  d.  1880. 


Opera  (It.)  [from  Lat.,  opus,  work].  A 
combination  of  music  and  drama  in  which 
the  music  is  not  merely  an  incidental,  but 
the  predominant  element.  The  opera 
originated  in  an  attempt  to  revive  what  was 
supposed  to  be  the  manner  in  which  the 
classic  Greek  drama  was  performed.  The 
efforts  of  the  group  of  musical  enthusiasts 
who  made  this  attempt  culminated  in  the 
production  of  "  Euridice,"  in  1600,  the 
first  Italian  opera  ever  performed  in  public. 
The  ground  being  broken,  new  cultivators 
soon  appeared,  and  the  new  plant  grew 
rapidly.  Peri,  the  composer  of  "  Euridice," 
was  succeeded  first  by  Gagliano,  then  by 
Monteverde, — one  of  the  great  names  in 
music.  In  his  hands  the  opera  developed 
with  extraordinary  rapidity.  Before  the 
close  of  the  17th  century  a  host  of  opera- 
writers  appeared,  led  by  Scarlatti.  The 
next  important  development  in  the  form  of 
opera  was  made  by  Lulli,  the  court-musician 
of  Louis  XIV.  No  very  striking  advance 
was  now  made  until  Handel  appeared.  He 
did  little  in  the  way  of  developing  the  form, 
but  infused  so  much  genius  into  the  received 
form  that  it  gave  it  a  new  life.  In  this 
respect  Handel  resembled  Mozart,  who,  at 
a  later  stage  of  the  development  of  the 
opera,  was  quite  satisfied  to  take  the  then 
received  form,  which  his  genius  sufficed  to 
make  immortal.  The  first  decided  depart- 
ure from  the  traditional  form  was  made  by 
Gluck,  whose  theoiy  of  dramatic  music  is 
strongly  akin  to  the  modern  theory  of  Wag- 
ner. The  opera  since  Mozart  has  grown 
with  so  much  luxuriance,  in  such  a  diversity 
of  forms,  that  even  a  slight  sketch  of  it 
would  be  impossible  in  our  limits.  Ap- 
pended will  be  found  the  names  of  the 
principal  varieties. 

Opera    Buffa.     Comic    opera.      (Fr. ,    Opera 

Boiiffe. ) 

Opera  Comique  (Fr.).  Comedy  (not  comic) 
opera. 

Opera  drammatica  (It.).  Romantic  opera. 
In  modern  German  usage  the  term  "  Musik- 
drama"  has  been  adopted  to  distinguish 
the  modern  from  the  old  form  of  opera. 

Opera  Seria.  Grand  opera ;  serious  opera  ; 
tragic  opera. 

Operetta  (It.).  An  opera  with  spoken  dia- 
logue. 

Ophicleide,  Oficleide  (It.)  [from  Gr. ,  ophis, 
snake,  and  kh'is,  key.  Lit.,  "  keyed 
snake,"  in  allusion  to  its  contorted  shape]. 
A  large  brass  instrument  of  the  bugle  fam- 
ily, i.  e.,  with  keys,  now  little  used.      The 

Onslow,  G.     Composer;  France.     B.  1784; 

d.  1852. 
Osborne,  G.  A.    Composer,  pianist ;  Ireland. 

B.  1806;  d.  1893. 


OPPURE 


67 


OSTINATO 


best  example  of  its  use  by  a  great  composer 
will  be  found  in  Mendelssohn's  "  Midsum- 
mer Nigiit's  Dream  "  music. 
Oppure  (It.)  l^op-poo'-reh).     See  Ossia. 

Opus  (Lat.).  Work;  used  by  composers  to 
indicate  the  order  in  which  their  works 
were  written. 

Oratorio  (It.)  [from  Lat.,  orator/ us,  pertain- 
ing or  belonging  to  prayer ;  a  place  for 
prayer].  A  composition  consisting  of  solos 
and  concerted  pieces  for  voices,  the  theme 
of  which  is  taken  from  the  Bible  or  from 
sacred  history.  The  name  arose  from  the 
fact  that  St.  Philip  Neri  gave  discourses 
intermingled  with  music  in  his  oratory  al)out 
the  middle  of  the  l6th  century.  The  term 
Oratorio  is  also  used  for  secular  works 
written  on  the  same  plan,  such  as  Haydn's 
"  Seasons,"  and  Bruch's  "Odysseus,"  but  is 
manifestly  inappropriate.  The  oratorio  is 
descended  from  those  middle-age  dramatic 
performances  founded  on  biblical  or  moral 
themes,  known  as  mysteries,  moralities,  or 
miracle  plays.  It  took  its  rise  about  the 
same  time  as  the  opera,  from  which  it 
differs  chiefly  in  that  it  affords  an  oppor- 
tunity for  the  highest  developments  of  the 
contrapuntal  art,  whereas  the  opera  is 
essentially  monodic.  The  oratorio  has  not 
gone  through  the  manifold  changes  and 
diversities  that  have  marked  the  develop- 
ment of  the  opera,  nor  has  it  attracted  any- 
thing like  the  number  of  composers  that 
have  devoted  themselves  to  the  opera.  The 
first  writer  of  any  prominence  in  this  field 
was  Carissimi.  He  was  followed  by  A. 
Scarlatti ;  then  Handel  appeared  and 
stamped  for  all  time  the  form  of  the 
oratorio.  His  great  contemporary.  Bach, 
equaled,  if  he  did  not  surpass  him,  but  in 
a  different  style.  Handel  has  had  but  two 
successors  worthy  to  be  named  with  him, — 
Haydn  and  Mendelssohn,  each  of  whom 
has  stamped  a  new  character  on  the  oratorio 
without  descending  from  the  high  plane  on 
which  this  class  of  composition  should  stand. 
The  taste  for  the  oratorio  seems  to  be  on 
the  wane,  as  no  composer  of  any  mark  has 
of  late  years  devoted  his  attention  to  it. 

Orchestra,  Orchestre  (Fr.),  Orchester 
(Ger.)  [from  Gr. ,  orchester,  a  dancer]. 
Originally  the  place  where  the  dancing 
took  place  in  the  Greek  theatre,  (i)  The 
place  where  the  instrumentalists  are  placed. 
(2)  The  company  of  instrumentalists.  (3) 
The  collection  of  instruments  used  at  any 
performance.     See  Instrument. 

Orchestrate.  To  write  music  for  the 
orchestra. 

Osgood,  Emma  A.     Soprano;  U.  S.  A.     B. 

1849. 
Otto,    Ernst  J.      Composer;    Germany.     B. 

1804;   d.  1877. 


Orchestration.  The  art  of  writing  for  the 
orchestra. 

Orchestrion.  A  mechanical  organ  designed 
to  imitate,  by  means  of  various  stops,  the 
instruments  of  the  orchestra. 

Ordinario  (It.)  {or-dee-nah'-ree-o^.  Usual; 
ordinary ;  as  tempo  ordinario,  the  usual 
time,  used  in  the  sense  of  moderate. 

Organ,  Organo  (It.),  Orgue  (Fr.),  Orgel 
(Ger.)  \{xo'ca.(jx.,orgation,  tool,  implement, 
instrument].  An  instrument  consisting  of 
a  large  number  of  pipes  grouped  according 
to  their  pitch  and  quality  of  tone  into 
"stops."  A  large  bellows  supplies  the 
compressed  air  or  "wind"  to  the  various 
air-tight  boxes  called  sound-boards,  on 
which  the  pipes  are  placed.  By  means  of 
a  key  mechanism  the  "wind"  is  allowed  to 
enter  the  pipes  corresponding  to  any  given 
pitch  at  will.  The  set  or  sets  of  pipes  it  is 
desired  to  sound  are  controlled  by  means  of 
"  registers  "  which,  when  drawn,  allow  the 
"wind"  to  enter  the  pipes  of  the  "stop," 
the  name  of  which  is  marked  on  the  knob 
of  the  register.  Organs  are  built  with  from 
one  to  four,  and  even  more,  "manuals,"  or 
keyboards,  placed  one  above  the  other. 
Three  manuals  is  the  usual  number.  The 
lowest  is  called  the  "  choir  organ,"  the 
middle  the  "great  organ,"  the  upper  the 
"  swell  organ."  When  a  fourth  manual  is 
added  it  is  called  the  ".solo  manual,"  a 
fifth  the  "  echo  organ  ;  "  there  is  also  a  key- 
board for  the  feet  called  the  "pedal  organ." 

Organ  Point,  Point  d'orgue  (Fr. ),  Orgel- 
punkt  (Ger.).  A  succession  of  hannonies 
belonging  to  the  key,  written  over  a  pro- 
longed holding  of  the  dominant  or  tonic,  or 
both ;  an  organ  point  is  generally  at  the 
bass. 

Organetto  (It.).     Small  organ;  bird-organ. 

Organum  (Lat.),  Organon  (Gr. ).  An 
early  attempt  at  part-writing  in  which  the 
parts  moved  in  fourths  or  fifths  with  each 
other. 

Orguinette.    A  small  mechanical  reed-organ. 

Orpharion.     A  lute  with  wire  strings. 

Osservanza  (It.)  [as  -  ser  -  van' -  tsa) ,  con. 
With  care  ;   with  exactness. 

Ossia  (It.)  {os'-see-a).  Or  else;  otherwise; 
as  ossia  piu  facile,  or  else  more  easily. 

Ostinato  (It.)  {os- tee-na'-to).  Obstinate. 
Basso  ostinato  is  a  name  given  to  a  fre- 
quently repeated  bass  with  a  constantly 
varied  counterpoint,  called  also  ground 
bass  ;  frequently  used  by  the  old  composers 
as  the  foundation  for  the  passacaglia. 

Otto,    Otto    (brother    of    E.).      Composer; 

basso;   Germany.      B.  1806;  d.  1842. 
Oublicheff,  Alex,  von  [oo'-blee-chef).  Writer; 

Germany.     B.  1795  ;  d.  1856. 


OTEZ 


68 


PARALLEL  MOTION 


Otez  (Fr.)  {o-teh).  Take  off;  a  direction  in 
organ  music  to  push  in  a  given  register. 

Ottavino  (It.)  {ot-ta-vee-no).     Tiie  piccolo. 

Ottavo  (It.).     See  Octave. 

Ottetto  (It.).     See  Octet. 

Ou  (Fr. )  {po).     See  Ossia. 

Ouvert  (Fr.)  {oo-vehr').  Open.  See  Open 
Notes.  A  livre  ouvert,  literally,  "  at  open 
book;  "   at  sight. 

Overblow.  To  blow  a  wind  instrument  in 
such  a  manner  as  to  make  it  sound  any  of 
its  harmonics.  In  the  organ  a  pipe  is  over- 
blown when  the  air-pressure  is  too  great, 
causing  it  to  sound  its  octave  or  twelfth. 

Overspun.  Said  of  strings  covered  with  a 
wrapping  of  thin  wire. 


Ouseley,  Rev.   F.   A.  G. 
England.      B.  1825. 


Organist,  writer ; 


Overstring.  Arranging  the  stringing  of  a 
piano  in  such  a  way  that  one  set  crosses  the 
rest  diagonally. 

Overtone.  The  sounds  produced  by  the 
division  of  a  vibrating  body  into  equal 
parts. 

Overture,  Overtura  (It.),  Ouverture  iFr.), 
Ouverture  ((Jer.).  A  musical  jirelude  to 
an  opera  or  oratorio.  Independent  compo- 
sitions are  also  written  under  the  name  of 
concert  overtures,  generally  with  some  de- 
scriptive title.  In  its  highest  form  the  over- 
ture is  developed  in  the  sonata  form  without 
repeating  the  first  part.  Many  overtures  are 
nothing  but  a  medley  of  airs  in  various 
tempos. 

Ovvero.     See  Ossia. 


P.     Abbreviation    for   piano.     Soft  (positive 

degree). 
PP.      Abbreviation    for    piu    piano.      Softer 

(comparative  degree). 
PPP.     Abbreviation  for  pianissimo.      Softest 

(superlative  degree). 

P.  F.  Abbreviation  for  pianoforte  (when 
capital  letters  are  used),  p.  f.  Abbrevia- 
tion for  poco  forte,  a  little  loud ;  or  piu 
forte,  louder.  In  French  organ  music  P. 
signifies  posatif,  i.  e,  choir-organ. 

Padouana  (It.)  {pah-doo-ah'-nali).^  Padu- 
ana,  Padovana,  Padovane  (Fr.)  (/a//- 
(to-van).     See  Pavan. 

P'Ecin  (Gr.).  A  song  of  triumph,  originally 
\\\  praise  of  Apollo. 

Paired  Notes.  A  succession  of  thirds,  sixths 
or  eightns  on  the  piano. 

Palco  (It.).     The  stage  of  a  theatre. 

Pallet.  The  valve  that  controls  the  admis- 
sion of  "  wind  "  to  the  pipes  of  the  organ, 
harmonium,  etc. 

Pachmann,  Vladimir  de.     Pianist ;    Russia. 

B.  1848. 
Pacini,    G.     [pah-  c/iee'  -  ttee).       Composer; 

Italy.     B.  1796;  d.  1867. 
Paderewski    { pah-droof  -skee  or  pah-dref- 

skee).      Pianist;   Poland.     B.  Nov.  6,  1S59. 

Paganini,  N.  [pah-gah-nee^-nee).  Violinist ; 
Italy.      B.  1784 ;  d.  1840. 

Paine,  J.  K.     Composer,  organist ;  U.  S.  A. 

B.  1839;  d.  1906. 
Paisiello,    G.    [pah-e-se-el'-ld).     Composer; 

Italy.      B.  1741  ;  d.  1816. 


Pallettes  (Fr.).  The  white  keys  of  the 
piano,  etc.  The  black  keys  are  Q.2W&A  feintes 
(faints). 

Pandean  Pipes  or  Pan's  Pipes.  The 
syrinx  ;  a  series  of  small  pipes  made  from 
reeds,  sounded  by  blowing  across  the  open 
top.  An  instrument  of  unknown  antiquity 
and  universal  use.  The  ancient  Peruvians 
carved  them  out  of  stone.  The  Fijians  and 
the  South  American  Indians  make  them 
with  a  double  set  of  pipes — one  set  open,  the 
other  closed  at  one  end,  thus  producing  oc- 
tave successions. 

Pantalon  (Fr. ).  One  of  the  numbers  in  a 
set  of  quadrilles.  The  old  set  of  tiuadrilles 
consisted  of  five  or  six  numbers  called:  (l) 
pantalon  ;  (2)  ete  ;  (3)  poule  ;  (4)  pastour- 
elle  ;  (5)  finale.  If  there  were  six,  the  other 
was  called  trenis. 

Parallel  Keys.  The  major  and  minor  scales 
beginning  on  the  same  keynote. 

Parallel  Motion.  When  two  parts  er  voices 
ascend  or  descend  together. 

Paladilhe,  Emile  [pah-iak-deel).   Composer; 

France.     B.  1844. 
Palestrina,    G.    P.    da    [pah-les  -tree'-tiali'). 

Composer;  Italy.     B.  1515;  d.  1594. 
Palmer,   H.  R.     Composer;    U.   S.  A.     B. 

1834;   d.  1907. 
Panofka,  H.      Composer,  violinist ;   Breslau. 

B.  1807  ;  d.  1887. 
Panseron,   A.    [pan-seh-rcng).      Composer, 

vocalist;   France.      B.  1796;  d.  1859. 
Pape,     Wm.    B.    [pah' - pek).      Composer, 

pianist;  U.  S.  A.     B.  1850. 


PARAPHRASE 


69 


PAVANA 


Paraphrase.  An  elaborate  arrangement  of 
a  piece  of  music  for  tlae  piano,  originally 
written  for  the  voice,  or  for  some  other  in- 
strument. An  orchestral  paraphrase  is  a  like 
arrangement  of  a  vocal  or  pianoforte  com- 
position. 

Parlando,  Parlante  (It.)  {par-Ian' -do,  par- 
Ian' -teh).  Declaiming;  singing  in  recita- 
tive style;  playing  in  imitation  of  vocal 
recitative. 

Part,  (i)  The  series  of  sounds  allotted  to  a 
single  voice  or  instrument,  or  a  ^roup  of 
voices  or  instruments  of  identical  kind  in  a 
musical  composition.  (2)  One  of  the  coun- 
terpoints of  a  polyphonic  composition  for 
piano  or  organ,  as  a  three-  or  four-part  fugue. 
(3)  One  of  the  divisions  of  an  extended 
form  as  indicated  by  double  bars. 

Part- Song.  A  composition  for  equal  or 
mixed  voices,  unaccompanied,  consisting  of 
a  melody  to  which  the  other  parts  are  sub- 
ordinated, in  this  respect  differing  from  the 
glee  and  madrigal,  which  are  contrapuntal, 
i.e.,  all  the  parts  are  of  equal  importance. 

Part-\A^riting.     Counterpoint. 

Partial  Tones.     See  Overtone. 

Partita  (It.)  {par-tee' -tali).     See  Suite. 

Partition  (Fr. )  {par-tee' -syong),  Partitur 
(Ger.)  {par-tee-totn-'),  Partitura  (It.)  {par- 
tee-too' -rail),  Partizione  (It.)  {par-teetz- 
eo'-neh).  [From  It.,  pai-tire,  to  divide.] 
In  allusion  to  the  division  by  bars  of  the 
page;  in  English  "scoring;"  an  orches- 
tral or  vocal  score. 

Paspy  [from  Fr. ,  passepied'\,  Passamezzo 
(It.)  {passa-med'-so).  A  dance  resem- 
bling the  minuet,  but  more  rapid  in  its 
movement. 

Passacaglio  (It.)  {pa^-sa-cal'-yo),  Passa- 
caglia,  {pas-sa-cal'-ya),  Passecaille  (Fr. ) 
{pass-ca-ee).  Passe-rue  (Fr.)  {pass-roo), 
Passa-calle  (Sp.)  {pas-sa-cal'-leh),  Gas- 
senhauer  (Ger.)  {gas-sen-koiv-er).  Liter- 
ally, "running  the  street."  An  old  dance 
in  triple  time,  generally  written  on  a  ground 
bass. 

Passage,  (i)  A  musical  phrase.  (2)  The 
figure  of  a  melodic  sequence.  (3)  A  bril- 
liant run  or  arpeggio. 

Passaggio  (It.)  {pas-sad' -jeo).      Passage. 

Paradies,  Maria  T.  von.  Pianist ;  Austria. 
B.  1759;  d.  1824. 

Parepa,    Rosa.       Soprano;     Scotland.       B. 

1836;  d.  1874. 

Parker,  J.  C.  D.  Organist,  composer;  U. 
S.  A.     B.  1828. 

Parry,  C.  Hubert  H.  Composer;  England. 
B.  1848. 

Parsons,  A.  R.  Composer,  pianist ;  U.S.A. 
B.  1847. 


Passing  Note.  An  ornamental  melodic  note 
foreign  to  the  harmony  ;  when  these  notes 
fall  on  the  beat  or  the  accent  they  are  called 
changing  notes. 

Passione  (It.).  Passion-music;  a  musical 
setting  of  the  closing  scenes  in  the  life  of 
the  Saviour  in  the  form  of  an  oratorio, 
originally  with  dramatic  action.  The  Ober- 
ammergau  passion-play  is  a  survival  of  this 
custom. 

Passione  (It.)  {pas-se-o' -iieh),  Passionato 
(It.)  {nah-to),  Passionatamente  (It.), 
Passione  (Fr.)  {pas-si-o'-nc/i),  con.  With 
passion  ;  intensity ;  impassioned ;  with 
intense  passion. 

Pasticcio  (It.)  {pas  -  tit'-che-o).  Pastiche 
(Fr. )  (pas-tish).  A  "  composition  "  made 
up  of  airs,  etc.,  borrowed  from  different 
sources. 

Pastoral,  Pastorale  (It  )  {pas-to-rah'-leli). 
(l)  A  rustic  melody  in  \  time.  (2)  Used 
to  designate  an  extended  composition  in- 
tended to  portray  the  scenes  and  emotions 
of  rustic  life,  as  pastoral  symphony,  pastoral 
sonata. 

Pastorella  (It.)  {pas-to-rel'-lali),  Pastorelle 
(Fr.)  {pas-to-rei).     A  little  pastoral. 

Pastourelle.     A  figure  in  the  quadrille.    See 

Panialon. 

Pateticamente  (It.)  {pa-teh  -  tee-cah-men' - 
teh),  Patetico  (It.)  {pa-teh' -tee-co),  Pa- 
thetiquement  (Fr. )  {pa-teh  -  teek-niong ), 
Pathetique  (Fr.)  {pa-teh-teek].  Pathetic; 
pathetically. 

Patimento  (It.)  {pah-tee-men-to).  Suffering. 
Con  espressione  di  patimento,  with  an 
expression  of  suffering. 

Patouille  (Fr. )  {pah-too-ee).  Claquebois; 
xylophone. 

Pauke  (Ger.)  { poiv-  keh),  pi.,  Pauken. 
Kettle-drum. 

Pausa  (It.)  {pa7v-sa).  Pause  (Fr.)  {paius). 
A  rest  or  pause  ;   a  bar's  rest. 

Pavan.  A  stately  dance  in  \  time.  The 
name  is  derived  either  from  pavo,  a  pea- 
cock, in  allusion  to  its  stately  character,  or 
from  pavana,  the  abbreviated  form  of  Pado- 
vana,  the  Latin  name  of  Padua,  where  the 
dance  is  said  to  have  originated. 

Pavana  (It.),  Pavane  (Fr.).     Pavan. 

Pasdeloup,  J.  E.  {pah-de-loo).  Conductor; 
France.      B.  1819  ;  d.  1887. 

Pasta,  G.  Soprano;  Italy.  B.  1798;  d. 
1865. 

Patti,  Adelina.      Soprano ;   Spain.      B.  1843. 

Patti,  Carlotta  (sister  of  A.).  Soprano; 
Italy.      B.  1840;  d.  1889. 

Pauer,  Ernst  {power).  Composer,  pianist, 
writer;  Austria.     B.  1826;  d.  1905. 


PA\'ENTATO 


70 


PEZZI   1)1   BRAVURA 


Paventato  (It.)  {pa-ven-tah'-to),  Paventoso 
\pu-ven-to-so)  [from  ha.\.. , pavidus,  fearing]. 
Timid;  with  fear  ;   timidly. 

Pavilion  (Fr. )  [pa-z'ee-yon^).  The  bell  of  a 
horn,  clarionet,  etc. 

Pavilion  chinois  [shee  -  no-a).  A  staff  of 
small  bells.  Flute  a  pavilion,  an  organ- 
stop  with  "bell-mouthed    '  pipes. 

Pedal,  abbreviated  Pad.  [from  Lat..  pes,  a 
foot],  (i)  Any  mechanism  controlled  by 
the  foot ;  in  the  piano,  the  contrivance  for 
raising  the  dampers  ;  also  that  for  shifting 
the  action  (una-corda).  In  square  and  up- 
right pianos,  the  soft  pedal,  when  depressed, 
interposes  small  strips  of  soft  leather  be- 
tween the  hanmiers  and  strings.  The  sos- 
tenuto  pedal  is  a  contrivance  by  means  of 
which  one  or  more  sounds  in  the  lower 
register  of  the  piano  may  be  prolonged  at 
will.  In  the  organ,  the  keyboard  for  the 
feet,  the  levers  for  opening  and  closing  the 
swell  (swell  pedal)  and  for  operating  various 
groups  of  stops  (combination  pedals). 

Pedal  Check.  A  mechanism  in  the  organ, 
controlled  by  a  hand-knob,  which  prevents 
the  movement  of  the  pedals.  Crescendo 
Pedal,  a  mechanism  in  the  organ  by  means 
of  which  the  full  power  may  be  put  on  or 
off.  Balancing  Swell  Pedal  is  one  that 
remains  in  whatever  position  it  may  be 
when  the  foot  leaves  it. 

Pedal  Harp.  The  mechanical  contrivances 
by  means  of  which  certain  strings  are  tight- 
ened or  slackened  to  change  the  key,  as  FC- 
ped.,  Biz-ped.,  etc. 

Pedal  Pipes.  The  organ-pipes  sounded  by 
the  pedal  keyboard. 

Pedal  Point  or  Organ  Point.      See  Organ 

Point. 

Pedale  (Fr.).     Pedal. 

Pedale  doppio  (It.)  [pek-da/i'-lrh  dop'-yo). 
Pedal  in  octaves ;  organ  music. 

Pedalflvigel  (Ger.).  A  grand  piano  with 
pedal  keyboard. 

Peg.  The  wooden  or  metal  pins  around 
which  one  end  of  the  strings  of  the  violin, 
etc.,  are  wound,  by  turning  which  the  pitch 
of  the  strings  is  raised  or  lowered  ;  in  the 
pianoforte  they  are  generally  called  pins. 

Pensieroso  (It. )  {pen-see-eh-ro' -so).  Pensive ; 
thoughtful. 

Pease,  Alfred  H.      Composer,  pianist ;   U.S. 

A.  B.  1842  ;  d.  1882. 

Pepusch,  J.  C.  Composer ;  Germany.  B. 
1667 ;  d.  1752. 

Perabo,  Ernst.    Pianist,  composer ;  Germany. 

B.  1845. 

Pergolesi,  G.  B.  {peIu--go-leh'-see).  Italy. 
B.  1710;  d.  1736. 


Pentatone.  An  interval  of  hve  whole  tones  ; 
augmented  6th. 

Pentatonic  Scale.     See  Scale. 

Per  (It.)  ipekr).  For,  or  by;  as,  Per  il 
violino,  for  the  violin. 

Percussion  Stop.  A  hammer  which,  strik- 
ing the  reed  of  a  harmonium  or  organ-pipe, 
causes  it  to  vibrate  promptly  when  the  key 
is  depressed. 

Percussive  Instruments.  Drums,  cymbals, 
triangles,  etc. 

Perdendo  (It.)  [pehr-den'-do),  Perdendosi 
{^pehr-den-do' -see)  [from  perdere,  to  lose]. 
Gradually  dying  away,  both  in  speed  and 
power.      (Abbr.,  Perd.  or  Perden.) 

Perfect  Cadence.     See  Cadence. 

Perfect  Concord.  Root,  minor  or  major  3d, 
and  perfect  5th. 

Perfect  Consonances.     See  Interval. 

Perigourdine  (Fr. )  {peh  -  ree  - goor  -  deen) , 
Perijourdine  (pe/i-ree- z/ioor-deen).  An 
old  French  dancing-song  in  ^  time. 

Period,  Periode  (Fr.)  {peh-ree-ode),  Periodo 
(It.)  [pe/i-ree-o-do).  A  complete  musical 
sentence,  generally  eight  measures. 

Perle  (Fr.)  {per-le/t),  Perlend  (Ger.). 
"  Pearled,"  like  a  string  of  pearls.  A  meta- 
phorical expression  for  a  clear,  delicate 
execution  ;  also  a  direction  that  the  passage 
is  to  be  played  in  a  "  pearly  "  manner. 

Pesante  (It.)  (  peh  -  san'-  teh  ).  Heavy  ; 
weighty. 

Petite  (P"r.)  (peh-teet).     Small;   little. 

Petite  Flute.     The  piccolo. 

Petite  mesure  a  deux  temps.     \  time. 

Petite  Pedale.    Soft  pedal  in  organ  music. 

Petites  Notes.     Grace  notes. 

Petto  (It.).     Chest. 

Peu  a  peu  (Fr ).  (This  sound  cannot  be 
reproduced  in  English  ;  it  resembles  00,  but 
is  not  so  broad.)  Little  by  little;  by 
degrees. 

Pezzi  (It.)  {pet-see).      Pieces. 

Pezzi  concertanti.  (i)  Concerted  pieces. 
(2)  A  "  number"  of  an  opera,  concert,  etc. 

Pezzi  di  bravura  {bra-voo-ra).  Showy, 
brilliant  pieces. 

Perkins,  Chas.  C.  Author,  etc.:  first  presi- 
dent of  15oston  Handel  and  Haydn  Society  ; 
U.  S.  A.      B.  1823  ;  d.  1886. 

Perkins,  J.  E.  B.  Vocalist ;  U.  S.  A.  B. 
1845 ;  d.  1875. 

Peschka-Leutner,  Minna  [pesh'-ka-loit'- 
ncr).    Soprano;  Austria.    B.  1839;  d.  1890. 

Petersilea,  Carlyle.  Pianist ;  U.  S.  A.  B. 
1848;   d.  1903. 


PEZZO 


71 


PIENO-PIENA 


Pezzo  (It.)  {pet'-so).  A  piece;  phrase. 
Beethoven  uses  the  following  sentence  as  a 
direction  in  one  of  his  pianolbrte  sonatas : 
"  Questo  pezzo  si  deve  trattare  con  piu  gran 
delicatezza," — Every  phrase  must  be  treated 
with  the  greatest  delicacy. 

Pfeife(Ger.)  {pfei-feh).     Pipe;  fife. 

Phantasie  (Ger. ).     See  Fantasia. 

Phantasieren  (Ger.)  [fan-ta-see'-ren).  To 
improvise. 

Phantasiestiick.     A  piece  devoid  of  form. 

Phrase.  Technically,  an  incomplete  musical 
sentence. 

Phrasing.  The  art  of  dividing  a  melody 
into  groups  of  connected  sounds  so  as  to 
bring  out  its  greatest  musical  effect,  including 
also  the  placing  of  accent  —  cres.  and  de- 
cres.,  rail,  and  accel.,  rubato,  etc., — and  in 
pianoforte  music,  the  varieties  of  touch. 
In  vocal  music,  it  refers  chiefly  to  the 
breathing  places ;  in  violin  music,  to  the 
bowing. 

Phrygian  Mode.  One  of  the  Greek  scales, 
generally  supposed  to  be  E — E.  In  the 
ecclesiastical  scales,  the  octave  scale  from 


^ 


ZSl 


Phrygian  Cadence. 


i 


^ 


§ 


^^ 


^ 


Physharmonica.  (i)  The  predecessor  of 
the  melodeon.  (2)  A  free  reed-stop  in  the 
organ. 

Piacemento  (It.)  {pe-aht-chee-inen'-to).  See 
Piacere. 

Piacere,  a  (It.)  {  pe- aht-  chee'  -  reh).  At 
pleasure,  /.  e.,  the  tempo  at  the  will  of  the 
performer. 

Place  vole  (It. )  {  pe  -  aht  -  cheh'  -  vo  -  leh  ) . 
Smoothly  ;    quietly. 

Piacevolezza  (It.)  {peaht-cheh-vo-let'-za^, 
con.     With  smoothness. 

Piacevolmente  (It.)  {pe-aht-cheh-vol-men^- 
tek).      Smoothly. 

Pianette  (Fr.),  Pianino  (It.)  {pee-ah-nee- 
Ho).     A  small  piano  ;  upright  piano. 

Piangendo  (It.)  {pee-an-Jen^-do),  Piange- 
vole  {pee  -  an  -  jeh'-  vo-/e/i),  Piangevol- 
mente  {pee-an-jeh-vol-men' -teJi).  "Weep- 
ing;"  plaintively  wailing. 

Piatti,  A.  ( pee'-at-tee).  Composer,  'cellist; 
Italy.      B.  18.2  2  ;  d.  i   01 


Piano  (It.)  [pee-an'-no).  Soft.  (Abbrevia' 
tion.  P.;  pianissimo,  PP. ) 

Pianoforte  (It.)  {for'  -  tch').  In  common 
usage,  piano,  without  the  forte.  An  instru- 
ment strung  with  steel  wire  (formerly  brass 
wire  was  largely  used),  provided  with  a 
keyboard ;  the  depression  of  the  keys 
causes  the  hammers  to  strike  the  strings. 
The  name  pianoforte  was  given  to  it  be- 
cause the  volume  of  sound  was  under  the 
control  of  the  performer.  Three  forms  of 
pianoforte  are  made :  The  grand  piano  [in 
Er.,  piano  d  qtieue,  lit.,  "piano  with  a 
tail  ;  "  Ger.,  fliigel,  in  allusion  to  its  wing 
shape]  ;  the  square,  and  the  upright.  The 
pianoforte  is  descended  from  the  dulcimer 
in  the  same  sense  that  the  harpsichord  is 
descended  from  the  psalterion.  In  form 
the  dulcimer  and  psalterion  were  identical, 
diftering  only  in  that  the  former  was  played 
by  means  of  hammers,  the  latter  by  means 
of  "  plectra."'  The  adaptation  of  mechan- 
ism to  control  the  hammers  developed  the 
piano  out  of  the  dulcimer,  and  the  adapta- 
tion of  mechanism  to  control  the  "plectra  " 
developed  the  harpsichord  out  of  the  psalter- 
ion. The  hammer  action  was  first  made 
practically  effective  by  Cristofori  of  Padua, 
in  171 1.  About  the  same  time  an  English 
monk,  "Father  Wood,"  made  one  in 
Rome.  This  instrument  came  into  the 
possession  of  the  celebrated  Fulke  Cireville, 
and  became  well  known  as  Mr.  Greville's 
pianoforte.  In  1717,  a  German  youth  of 
eighteen,  named  Schroter,  invented  the 
pianoforte  independently ;  his  invention  was 
copied  by  Silberman  of  Strasburg,  who  sub- 
mitted two  of  bis  instruments  to  Bach,  who 
liked  the  mechanism  but  not  the  tone,  pre- 
ferring that  of  the  clavichord.  The  growth 
of  the  pianoforte  has  been  rapid  since  the 
beginning  of  the  present  century,  and  has 
now  reached  a  point  beyond  which  it 
hardly  seems  possible  to  advance. 

Piatti  (It.)  {pe-at'-tee).     Cymbals. 

Pibroch.  A  sort  of  fantasia  for  the  bag-pipe 
of  the  Scotch  Highlanders;  supposed  to 
represent  the  incidents  of  a  fight. 

Piccolo.  A  small  flute  an  octave  higher  than 
the  ordinary  flute ;   a  2-foot  organ-stop. 

Piccolo-piano.     A  small  upright  pianoforte. 

Picco-pipe.      A  small  instrument  resembling 

a  flageolet ;   gets  its  name  from  an  Italian 

peasant,   Picco,   who  produced  astonishing 

results  from  it. 
Piece.      A  composition;  a  single  instrument, 

as,  "  a  band  of  twenty  pieces." 
Piece  (Fr.)  [pee-ace).     A  member  of  a  suite, 

q.  V. 
Pieno-piena  (It.)  {pe-eh'-no).     Full. 

Piccini,  N.  (/?V-r//^if^-w^^).  Composer;  Italy. 
B.  1728  ;  d.  1800. 


PIETOSO 


72 


PLECTRUM 


Pietoso  (It.)  (^pe-eh-to'-sd),  Pietosamente 
i^pe-eh-to-sa-vien^-teh).  Tender;  pitiful; 
tenderly. 

Pifferaro  (It.)  [pif-feh-rah-ro).  A  player  on 
the  piffero. 

Piffero  or  Piffaro  (It.).  Old  form  of  the 
hautboy,  still  used  in  Italy.  The  same  form 
of  instrument  exists  all  through  Asia, — 
probably  the  '■'■  aulos^''  of  the  Greeks. 

Pince  (Fr.)  (/rtwf-j^^'').  (i)  Pinched.  See 
Pizzicato.      (2)   A  mordent. 

Pipe.  The  tubes  of  wood  or  metal  in  the 
organ.  They  are  classified  as  follows : — 
Open  pipes,  open  at  the  top ;  closed  or 
stopped  pipes,  with  a  movable  plug;  flue 
pipes,  those  constructed  on  the  principle  of 
the  whistle  or  flageolet ;  reed  pipes,  those 
in  which  a  beating  reed  is  combined  with 
the  pipe.  Pipes  are  also  classified  by  length, 
the  open  diapason  being  the  standard.  An 
open  pipe  must  be  eight  feet  long  to  sound 


^^ 


A  closed  pipe  four  feet  long  gives  the  same 
sound  ;  both  are  said  to  have  an  8-foot  tone. 
If  a  pipe  has  a  4-foot  tone,  its  sound  is  an 
octave  higher  than  the  diapason  ;  if  a  2-foot 
tone,  it  is  two  octaves  above  the  diapason. 

Pique  (Fr.)  [pee-keh').  A  manner  of  bowing 
the  violin,  indicated  by  combined  slur  and 
dots :        ^^  ~..^ 

•  •  •  • 

r    r    r    r 


Piquieren  [Ger.)[  pik-ee'-i-en).  To  play  pique. 

Piston  (Fr.),Ventil  (Ger.).  Valve;  a  device 
used  in  brass  instruments  to  lengthen  the 
tu!>e,  thus  depressing  the  pitch. 

Pitch.  Relative  pitch  is  the  interval  between 
a  given  sound  and  some  other  sound.  Abso- 
lute pitch  is  the  number  of  vibrations  per 
second  necessary  to  produce  a  given  sound. 
Standard  "pitch  is  the  number  of  vibrations 
per  second  adopted  as  the  pitch  of  a  given 
sound.       The   standard    (now    almost    uni- 


versal) is] 


-JSl 


=  435- 


which  is  known  as  the  French  "  diapason 
normal."  Between  1699  and  1859  the 
standard  rose  from  404  to  455. 
Pitch  Pipe.  A  wooden  pipe  used  to  give 
the  keynote.  A  small  tube  containing  a  free 
K.-ed  is  now  generally  used. 

Piccini,    L.    {pit  ■  chee' -  nee)    (son    of    N.). 
Composer;   Italy.      B.  1766  ;  d.  1827. 

Pinsuti,  Ciro  {pin-soo'-tee,  chee-ro).      Com- 
poser;  Italy.     B.  1829;   d.  1888. 

Plaidy,  Louis  {play' -dee').      Pianist,   writer; 
Germany.     B.  1810;  d.  1874. 


Piu  (It.).      More;  as,  Piu  forte,  louder. 
Piva   (It.)    [pee-vah).       A  bagpipe;    also   a 
piece  of  music  in  imitation  of  the  bagpipe. 

Pizzicato  (It.)  {pits-e-cah'-to),  Pince  (Fr.), 
Gekneipt  (Ger.).  Lit.,  "pinched."  A 
direction  in  music  for  bow  instruments  to 
pluck  the  strings  with  the  finger,  as  in  the 
guitar.      (Abbr. ,  Pizz.) 

Placidamente  (It.)  [plah-  chee  -  JaJi-men'- 
te/i).      Placidly;   quietly. 

'P\z.c\do{\i.)  {plak-chee'-do).     Placid;   quiet. 

Plagal  Cadence.  From  subdominant  to 
tonic : 


r- 


^ 


9^ 


t- 


-<5>- 


Plagal  Scales  or  Modes.  In  the  ecclesi- 
astical system,  those  scales  beginning  a 
fourth  below  the  authentic  scales,  but  end- 
ing on  the  keynotes  of  their  related 
authentic  scales.  They  are  distinguished 
by  the  prefix  hypo  [Gr.,  vno,  below],  as 
Dorian  (authentic)  D-D,  ending  on  D ; 
hypo- Dorian  (plagal)  A- A,  ending  on  D. 

Plain  Chant.  Plain  song.  Cantus  planus, 
or  Cantus  choralis  (Lat.),  the  early  music 
of  the  church,  written  in  the  ecclesiastical 
modes  (also  called  Ambrosian)  and  Gre- 
gorian scales.  In  the  12th  century  the 
unrhythmic  melodies  of  the  early  forms  of 
plain  .song  were  largely  superseded  by  the 
rhythmic  cantus  mensurabilis,  or  measured 
song,  which  came  into  existence  upon  the 
invention  of  notes  by  Franco  of  Cologne. 
Before  this  invention  the  musical  rhythm 
depended  entirely  on  the  rhythm  of  the 
words  to  which  it  was  sung. 

Plainte  (Fr.).     Elegy;  lament. 
Plaisanterie    (Fr.)    {play-zong-te-ree).      A 

lively  fantasia  in  which  various  dance-tunes 

are  introduced. 

Planxties.  Laments ;  music  of  Irish  harpers 
to  celebrate  the  departed. 

Plectrum  [Gr.,  plectron\  A  small  rod  of 
metal,  bone,  ivory,  etc.,  or  a  flat  strip  of 
wood  or  tortoise  shell,  or  a  ring  with  a  pro- 
jecting piece,  used  to  strike  the  strings  of 
the  lyre,  Japanese  guitar,  mandolin,  zither, 
etc. 

Pleyel,  Ignaz  J.     Composer ;  Germany.     B. 

1757;  d.  1831. 
Pleyel,   Marie    F.   D.    M.    (wife  of  above). 

Pianist;   France.      B.  1811  ;  d.  1875. 

Pole,  Will.  Author,  theorist ;  England.  B. 
1814  ;   d.  1900. 


poi 


A 


PLEIN  JEU 

Plein  jeu  (Fr.)  [plane  zhoo).  Full  power; 
full  organ. 

Pneuma  (Gr.).     Breath.     See  N^euma. 

Pneumatic  Action.  A  contrivance  in  large 
pipe-organs  by  means  of  which  a  small 
bellows,  called  pneumatic  bellows,  is  made 
to  do  the  work  of  opening  the  palettes  in 
place  of  the  lingers. 

Pochettino  (It.)  {po-ket-tee-no).     Very  little. 

Pochetto  (It.)  (/f-zCY'/^-z't^).    A  little;   (not  so 

much  as  Poco). 
Pochissimo    (It.)     [po  -  kis  -  see  -  ino) .     The 

"least  little  bit;  "  as  Cres.  pochissimo, 

the  least  degree  louder. 
Poco  (It.).    A  little;  rather;  as,  Poco  lento, 

rather  slow. 
Poco  a  poco.     By  degrees ;  as,  liall.  poco  a 

poco. 
Poggiato  (It.)  {pod-je-ah'-to).    Dwelt  upon  ; 

lit.,  leaned  upon. 
Poi  (It.)  [po-ee).     Then;  afterward.     P 

f. ,  soft,  then  loud. 
Point  (Fr.)   [po-ang).      A  dot  (Eng.). 

phrase  for  imitation. 
Point  d'orgue  (Fr. ).     Pedal  point. 
Pointe  (Fr. )  [po-ang-teh).     Dotted. 
Poitrine   (Fr.)    {po-a-treen).     Chest.     Voix 

de  poitrine,  chest  voice. 
Polacca.     A  Polish  dance  in  \  time 

naise. 
Polka.    A  dance  in  |  time,  originated  among 

the  peasants  of  Bohemia. 
Polka  Mazurka.      A  mazurka  danced  with 

the  polka-step. 

Polonaise.     See  Polacca. 

Polska.     Swedish  dance  in  triple  time. 

Polyphonic  [from  Gr.,  poliis,  many;  and 
phone,  a  voice].  Music  written  contra- 
puntally,  as  opposed  to  music  written 
harmonically  with  a  single  melody. 

Polyphony.  "  Many  voices."  Counter- 
point in  several  parts. 

Pommer.  A  large  instrument  of  the  hautboy 
family  ;  bombard. 

Pomposamente  (It.)  [pom-po-sah-men^ -teh). 

Dignified;  majestic. 
Pomposo  (It.).     Pompous. 

Ponderoso  (It.).  Ponderous;  strongly 
marked. 

Ponticello  (It.)  [pon-tee-chel-io).  The  bridge 
of  the  violin,  etc. 

Polko,  Elise.    Soprano;  Germany.    B.  1831 ; 

d.  1899. 

Ponchielli,  A.  (pon-kee-ellee).  Composer; 
Italy.      B.  1834;   d.  1886. 

Poniatowski,  Prince  J.  M.  F.  X.  J.  {pone- 
ya-tirw^-skee).  Composer,  tenor ;  Italy.  B. 
1816;  d.  1873. 


73  POTPOURRI 


polo- 


Port  de  voix  (Fr.).  (i)  Portando  la  voce. 
(2)   An  obsolete  grace  in  harpsichord  music. 

Portamento  (It.)  [por-tah-men^ -to).  Sliding 
or  "  carrying  "  the  voice  from  one  sound  to 
another ;  also  on  bow  instruments,  sliding 
the  finger  along  the  string  from  one  place  to 
another. 

Portando  la  voce.     Same  as  Portamento. 

Portunal  Flute.  Organ-stop  with  wooden 
pipes  which  "flare,"  i.  e.,  get  wider  from 
the  mouth  to  the  top. 

Portunen  (Ger.)  {por-too'-tien).  The  bour- 
don stop. 

Posatif(Fr. )  [po-sa-teef).     The  choir  organ. 

Posato  (It.)  {po-sah'-to),  Posement  (Fr. ) 
[po-seh-moiig).      Quiet;  sedate;   grave. 

Posaune  (Ger.)  [po-zo^vti-ek).  The  trom- 
bone ;  a  powerful  reed-stop  in  the  organ, 
of  8-,  16-,  or  32-foot  pitch. 

Position.  (i)  Of  chords.  The  common 
chord  may  be  written  in  three  positions, 
called  the  octave,  tierce,  and  quint. 

& 


is: 


:^ 


-Ci- 


tS- 


-<5>- 


-6>- 


'.SL 


ZSl 


:S7 


I 


Octave.        Tierce. 


Quint. 


As  given  in  this  example  it  is  called  the 
close  position  of  the  chord  ;  the  following 
example  is  called  the  open  position  : — 

^ a. 


i 


-32L 


-ISLL 


-<9- 


-S'- 


-^9- 


9fc 


3z: 


3?: 


(2)  On  instruments  of  the  violin  and  guitar 
family,  "  Position"  refers  to  the  part  of  the 
fingerboard  on  which  the  left'  hand  is 
placed. 

Possibile  (It.)  {pos-see^-bee-le/t).  Possible; 
as,  II  piu  forte  possibile,  as  loud  as  pos- 
sible. 

Postlude,  Postludium  (Lat.),  Nachspiel 
(Ger.),  Cloture  (Fr.).  The  concluding 
voluntary  on  the  organ  ;  lit.,  after-play. 

Potpourri  (Fr.)  {po-poor-ee).  A  number  of 
tunes  strung  together. 

Popper,  David.  Composer,  'cellist;  Bo- 
hemia.    B.  1846. 

Porpora,  Niccolo.  Composer ;  Italy.  B. 
1686;  d.  1767. 

Potter,  Cipriani.  Pianist,  composer;  Eng- 
land.    B.  1792;  d.  1871. 


POULE 


74 


PSALTERY 


Poule,  la.     See  Quadrille. 

Pousse     (Fr. )    ^poos-seh\        ' 
bow. 

Prachtig  (Ger.)  [praych-tig). 

jestic. 

Pralltriller  (Ger.), 


Push 


i 


Up- 
Grand ;  ma- 


Played. 


now  commonly  called  the  Mordent.  The 
sign  for  the  mordent  proper  is  y\\^  ■     It 

always  means  that  the  auxiliary  note  is  to 
be  below  the  principal.  When  the  line  that 
crosses  the  sign  was  omitted  it  was  called 
the  Inverted  Mordent  or  Pralltriller.  The 
original  form  of  the  mordent  is  never  used 
by  modern  writers. 

Precentor.  In  the  English  church,  the 
clerical  head  of  the  choir;  his  side  of  the 
chancel  is  called  the  cantoris  side.  In  the 
Scotch  Presbyterian  churcli,  the  singer  who 
stands  in  front  of  the  pulpit  and  "gives 
out ' '  the  psalm  tunes. 

Precipitoso  (It.),  Precipitate  (It.),  Pre- 
cipitazione,  con  (It.),  Precipitamente 
(It.),  Precipite  (Fr.).  A  rapid,  precipi- 
tate, hurried  style  of  execution. 

Prelude,  Preludium  (  Lat.  ),  Vorspiel 
(Ger.).  An  introduction;  an  opening 
voluntary ;  a  composition  which  may  or 
may  not  be  in  some  regular  form. 

Premier  (Fr.)  {preh-inee-eh).  First.  Pre- 
miere fois,  first  time. 

Preparation.  The  prolongation,  in  the  same 
voice,  of  a  sound  from  one  chord  in  which 
it  is  a  member  into  a  chord  in  which  it  is 
not  a  member. 

Prepared  Trill.  One  preceded  by  a  grace- 
note  or  turn. 

Pressante  (It.)  [pres-saft'-ieh),  Pressieren 
(Ger.)  (pres-see^-ren),  Pressez  (Fr.)  [pres- 
se/i).      Pressing  on  ;  hurrying. 

Prestant  (Ger.  and  Fr.).  4-foot  metal  open 
stop.      Same  as  Principal. 

Prestezza  (It.)  {pres-tet'-za),  con.  With 
rapidity. 

Prestissimo  (It.)  {pres-tis' -see-mo),  Prestis- 
simamente  (It.)  {pres-tis-se-ma-men' -teh). 
As  fast  as  possible. 

Presto  (It.).     Fast. 

Prelleur,  Peter  {  prel -  loor).  Composer, 
organist;    England.      B.  17 — ;   d.  1758. 

Proch,  Heinrich.  Composer,  violinist ;  Ger- 
many.     B.  1809;  d.  1878. 

Proksch,  J.  {p}-oksk).  Teacher;  Bohemia. 
B.  1794;   d.  1864. 


Prick-song.  Old  name  for  written  music. 
The  first  notes  used  were  small,  square 
marks  without  stems,  called  pricks,  or 
points. 

Primary  Accent.  The  first  member  of  the 
measure.  When  there  are  two  or  more 
accents  in  the  measure,  the  first  is  the 
primary,  the  rest  are  called  secondary. 

Prima  donna.  First  lady;  the  leading 
soprano. 

Prima  vista.     At  first  sight. 

Prima  volta.     First  time ;  lit.,  first  turn. 

Prime.  The  first  note  of  a  scale  ;  keynote  ; 
the  generator  of  an  overtone  series  ;  unison. 

Primo  (masc),  Prima  (fem.)  (It.)  [pree-nio, 
pree->/ia).      First. 

Primo  tenore.     First  tenor. 

Principal  (Eng.).     4-foot  open  metal  stop. 

Principale  (It.)  [priii-c/iee-pak-k/i).  Princi- 
pal (Fr.),  Prinzipal  (Ger.).  The  open 
diapason. 

Probe  (Ger.)  [pro-l>eh).     Rehearsal. 

Program  or  Programme.  A  list  of  compo- 
sitions to  be  performed  at  a  musical  enter- 
tainment. 

Program-music.  Music  designed  to  "tell  a 
story,"  or  illustrate  some  action  or  event. 

Progression.  (l)  Melodic — from  note  to 
note.    (2)   Harmonic — from  chord  to  chord. 

Progressive  Stop.  An  organ-stop  in  which 
the  number  of  pipes  to  each  key  increases 
as  the  pitch  rises;   a  variety  of  mixture-stop. 

Prontamente  (It.)  [pi-on  -  tah  -  men' -  teh), 
Promptement  (Fr. )  {  provipt  -  niong). 
Promptly  ;  exactly  ;  strictly. 

Pronto  (It.).      Prompt;  strict. 

Pronunziato  (It.)  {pro-nuntz-ee-ah' -to) ,  Pro- 
nonce  (Fr. )  (pro-tiof/g-seli).  Pronounced; 
emphatic.  Ben  pronunziato  (It.),  Bien 
prononce  (Fr.),  well  marked;  strongly 
accented. 

Prova  (It.).     Rehearsal. 

Psaltery,  Psalterium  (Lat.),  Salterio  (It.), 
Psalterion  (Fr.),  Psalter  (Ger.)  [from 
Gr. ,  psaltein,  to  harp].  Ancient  instru- 
ment, consisting  of  a  square,  oblong,  or 
triangular  flat  box,  with  wire  strings 
stretched  across  it,  played  by  the  fingers, 
each  of  which  is  armed  with  a  ring  with  a 
short  projecting  plectrum.  The  same 
instrument  is  called  a  dulcimer  when  played 
by  two  small  hammers,  held  one  in  each 
hand. 

Prout,  E.  Theorist,  composer  ;  England.  B. 
1835;  d.  1910. 

Prudent,  E.  B.  [proo  -  dong).  Composer, 
pianist;   France.      B.  1817  ;   d.  1863. 

Prume,  F.  H.  {proom).  Violinist,  composer; 
France.      B.  1816;  d.  1849. 


PULSATILE 


75 


QUATRIBLE 


Pulsatile.  Instruments  played  by  drumsticks 
or  by  clashing  them  together ;  as  drums, 
cymbals,  etc.    [From  \^zX.,  pulsare,  to  beat.] 

Pulse.     A  beat. 

Punkt  (Ger. )  {pooiikt).      Dot;  point. 

Punta  (It.)  (/oo«^-^tf/^).  The  point.  Colla 
punta  del-'arco,  with  the  point  of  the 
bow. 

Puntato  (It.)  ^poon-tah' -to).  Pointed;  stac- 
cato. 

Purfling.     The  thin  strips  of  wood  (a  white 

Puget,  Loisa  (/ocJ-s/zif//).  Composer;  Paris. 
B.  1810;  d.  1890. 

Purcell,  Henry.  Composer;  England.  B. 
1658;  d.  1695. 

Pyne,  J.  Kendrick.  Tenor ;  England.  B. 
1785;  d.  1857. 


strip  between  two  black)  around  the  border 
of  the  back  and  belly  of  the  violin,  etc. 

Pyramidon.  An  organ-stop  with  pipes 
shaped  like  an  inverted  pyramid,  closed  at 
top.  From  its  peculiar  shape  a  pipe  not 
three  feet  long  will  produce  1 6-foot  C. 

Pyrophone  [from  Gr.,  pur,  fire,  plume, 
sound].  An  instrument  the  sounds  of 
which  are  produced  by  gas  jets  burning  just 
inside  of  the  lower  end  of  glass  tubes  open 
at  both  ends.     Invented  by  Kastner. 

Pyne,  J.  Kendrick,  2d  (son  of  1st).  Com- 
poser, organist;  England.  B.  1810;  d.  1893. 

Pyne,  J.  Kendrick,  3d  (son  of  2d).  Com- 
poser, organist ;   England.     B.  1852. 

Pyne,  Louisa  F.  Soprano ;  England.  B. 
1832. 


Q 


Quadrate,  B  quadratum,  i.  e.,  B  squared. 
Old  name  for  BJJt  —  retained  as  the  sign  for 

Quadratum  (Lat.).     A  breve     Q. 

Quadrible  or  Quatrible.  An  ancient  species 
of  counterpoint,  consisting  of  a  succession 
of  4ths  over  a  cantus. 

Quadrille.  A  "  square  dance."  See  Pa/i/a- 
lon . 

Quadruple  Counterpoint.  A  four-part 
counterpoint  so  constructed  that  the  parts 
may  change  places  without  involving  any 
false  progressions. 

Quadruple  croche  (Fr.)  [crosli).      A  64th-    j 
note. 

Quadruplet.     A  group  of  four  notes  played    1 
in  the  same  time  of  three  or  six  of  the  same 
value. 

Quality  of  Tone  [Ger.,  Klangfarbe  or 
Tonfcirbe ;  Fr.,  Timbre ;  It.,  71?nbro].  That 
which  enables  us  to  distinguish  between 
different  instruments.  The  character  of  a 
tone  quality  depends  largely  upon  the 
presence  or  absence  and  relative  intensity 
of  its  overtones ;  thus,  the  tone  of  a  clario- 
net differs  entirely  from  that  of  a  violin, 
although  all  violins  and  all  clarionets  do  not 
sound  alike.  The  differences  in  tone 
quality  that  are  found  among  violins,  for 
example,  depend  on  other  factors,  as  the 
construction,  material,  weight  of  strings, 
individuality  of  the  performer,  and  many 
more.  The  tone  qualities  of  the  voice  are 
dependent  largely  on  the  accurate  contact 
of  the  vocal  cords,  the  size  and  shape  of 

Quantz,  J.  J.  Composer,  flutist ;  Germany. 
B.  1697;  "d.  1773. 


the  cavity  of  the  mouth  and  nostrils,  and 

the  management  of  the  breath. 
Quart.       Interval    of   4th.       [It.    and    Lat., 

Quarfa.'^ 
Quart  (Fr.)  {karf).     Quarter. 
Quart  de  soupir  {soo-pee).     A  i6th-rest. 
Quart  de  mesure  (Fr. )  [tneh-zoor).     A  4th- 

rest. 
Quartfagott  (Ger.).      A  bassoon  a  4th  lower 

than  the  ordinary  instrument. 
Quartflote  (Ger.).     A  flute  a  4th  higher  than 

the  ordinary  instrument. 
Quarte  du  ton  (Fr.)  [/cart  doo  tong).     A  4th 

of  the  scale  ;   subdominant. 

Quarter  Note     ,•. 

Quartet.  A  composition  for  four  solo  per- 
formers. String  Quartet  is  composed  of 
first  and  second  violins,  viola,  and  violon- 
cello. Piano  Quartet  is  composed  of 
violin,  viola,  violoncello,  and  piano.  Vocal 
Quartet  may  be  either  for  male  or  female 
or  mixed  voices. 

Quartett  (Ger.)  {kvar-tet'),  Quatuor  (Fr.) 
(qua-too-or),  Quartetto  (It.)  [qiiar-tet'-to). 
Quartet  in  English,  sometimes  spelled  quar- 
tette. 

Quartole  (Ger.)  {kvar-to'-le).     Quadruplet. 

Quasi  (It.)  [qitah'-see).  As  if;  in  the 
manner  of;  like;  as.  Quasi  allegro,  like 
allegro  ;    Quasi  sonata,  resembling  a  sonata. 

Quatre  mains  (Fr.)  {katr  t/tang).      For  four 

hands. 
Quatrible.      See  Quadrible. 

Quidant,  Joseph  {kee-dciig).  Pianist,  com- 
poser;   France.      B.  1815  ;   d.   iSq3. 


QUATTRO  MANI 


76 


RAUSCHQUINTE 


Quattro  mani  (It.)  {quat-tro  fiian-nee).  Four 
hands. 

Quatuor.     See  Quartet. 

Quaver.    An  eighth-note. 

Querflbte  (Ger.)  {kvehr -Jia'-teh),  Flauto 
traverse  (It.).  "Cross-flute."  The  flute 
played  by  blowing  across  it,  as  distinguished 
from  the  old  flute,  blown  at  the  end. 

Queue  (Fr. )  {koo).  Tail-piece  of  violin; 
stem  of  a  note. 

Quickstep.  A  rapid  march,  generally  in  | 
time. 

Quinable.  An  old  species  of  counterpoint, 
consisting  of  a  succession  of  fifths  above 
the  cantus. 

Quint,  (i)  A  5th.  (2)  An  organ-stop  a  5th 
above  the  diapason. 

Quint  Viola.  An  organ-stop  of  the  Gamba 
species  a  5th  or  12th  above  the  diapason. 

Quintaton.  An  organ-stop  so  voiced  that  it 
gives  two  sounds — the  fundamental  and  the 
12th.  The  pipes  are  of  metal,  slender  and 
closed. 


Quinte  (Ger.)  {^kvin-teJi).  (i)  The  interval 
of  a  5th.     (2)   The  E-string  of  the  violin. 

Quintet.  A  composition  for  five  solo  per- 
formers. The  string  quintet  generally  con- 
sists of  first  and  second  violins,  first  and 
second  violas,  and  violoncello  ;  occasionally 
two  violoncellos  are  used,  in  which  case  it 
is  called  a  Violoncello  Quintet  to  distin- 
guish it  from  the  former.  The  Piano  Quin- 
tet consists  of  a  string  quartet  and  the 
piano. 

Quintole  (Ger.)  {kvin-to'-leh).  A  group  of 
five  notes  to  be  played  in  the  time  of  four 
of  the  same  value. 

Quintuor  (Fr.)  {kang-too-or),  Quintetto 
(It.),  Quintett  (Ger.)  {kvin-tet).  Quintet, 
or  quintette. 

Quintuplet.     Quintole. 

Quire  and  Quirester.  Old  English  for  choir 
and  chorister. 

Quodlibet  (Lat.)  {quod- lee' -bet).  "What 
you  will."  A  performance  in  which  every 
participant  sings  or  plays  a  different  tune  ; 
an  impromptu  fantasia;  a  musical  jest. 


R 


R.  Abbreviation  for  Right.  In  French 
organ  music,  for  Recit.  (swell  manual). 

Rabbia  (It.)  [rab'-be-a),  con.     With  fury. 

Rackett  or  Rankett.  An  obsolete  instru- 
ment resembling  the  double  bassoon ;  a 
16-  or  l8-foot  stop  in  old  organs. 

Raddolcendo  (It.)  {rad-dol-cheti'-do),  Rad- 
dolcente  [rad-dol-cheti' -teh),  Raddolcito 
(^rad -  dot-  chee'  -  to) .  Growing  gradually 
softer  and  sweeter. 

Radiating  Pedals.  A  fan-shaped  arrange- 
ment of  tlie  pedal  keys  of  the  organ  ;  the  nar- 
row end  of  the  fan  farthest  from  the  organ. 
Radiating  pedals  are  generally  "concave  " 
at  the  same  time,  that  is,  the  pedals  at  the 
sides  are  higher  than  those  in  the  middle. 

Radical  Bass.      The  root  of  a  chord. 

Rallentamento  (It.)  (^ral-len-ta -vien'-td). 
Slower.    Same  as  Pin  lento,  or  Aleno  niosso. 

Rallentando  (It.)  {ml len-tan'-dd),  Rallen- 

tato  {ral-len-ta/i'-to),  Rallentare  {ral-leti- 

o     tah'-reh).     Gradually  slower.    Abbreviation 

for  the  above.  Rail. 

Note. — Rallentando  and  Riteiiuto,  although 
both  mean  to  "get  slower,"  differ  somewhat  in 
the  manner  of  using  them:  Rallentando  being 
used  at  the  end  of  a  piece  (movement):  Ritenuto 
in  the  course  of  a  piece,  followed  by  "A  Tempo," 
when  the  original  pace  is  to  be  resumed.  Ri- 
tardando  is  used  in  the  same  way  as  Ritenuto. 
Abbreviation  for  both  is  Rit. 


Raff,  J.  J. 
d.  1882. 


Composer;  Germany.     B.  \%'ii 


Rank.  A  row  of  organ-pipes  belonging  to 
one  stop.  Mixture-stops  are  of  2,  3,  4,  5, 
or  6  ranks,  according  to  the  number  of 
pipes  that  "  speak  "  for  each  key. 

Rant.  An  old  dance.  In  Scotland  many 
dance-tunes  are  called  rants. 

Ranz  des  vaches  (Fr. )  {roiigs  deh  2'as/i). 
Lit.,  "row  of  cows."  Tunes  played  or 
sung  by  the  Swiss  as  cattle  calls.  (In  Ger., 
Kiihreihen. )  As  the  Alpine  horn  is  a  simple 
tube,  the  melodies  played  on  it  are  formed 
from  the  natural  harmonic  notes.  When 
the  ranz  des  vaches  are  sung,  the  melodies 
are  varied  by  adding  the  characteristic 
Jodel.  Many  of  these  melodies  are  of  great 
antiquity  and  exceeding  beauty. 

Rapidamente  (It.)  {rah -pid -  a  -  men'-teh). 
Rapidly. 

Rapidita  (It.)  {rah-pid'-ee-tah),  con.     With 

rapidity. 
Rapido  (It.)  {rah'pee-dd).     Rapid. 

Rasgado  (Sp.).  In  guitar-playing,  a  direc- 
tion to  sweep  the  strings  with  the  thumb. 

Rattenuto(It.)(rrt'^  teh-noo' -to),^aX\.^n&wAo 
(It.)  {rat -teh  -nen-do).  Holding  back  the 
movement. 

Rauschquinte  (Ger.)  {rozash'-ki'in-teh).  A 
two-raitk  mixture-stop. 

Rjmeau,  J.  P.  {rah-nio).  Composer,  theo- 
rist;   France.     B.  1683;   d.  1764. 


RAUSCilER 


77 


REGLE  DE  L'OCTAVE 


Rauscher  (Ger.)  [roiu-sher)  [from  rauscken, 
to  rustle].     A  repeated  note  on  tlie  piano. 

Ravvivando  il  tempo  (It.)  [rav-vee-van'- 
do).  Lit.,  "  reviving  the  time."  Resum- 
ing the  original  tempo  after  :i  rail,  or  rit. 

Re.  The  second  Aretinian  syllable ;  the  note 
D  in  French,  Italian,  and  Spanish.  In 
tonic  sol-fa  spelled  Ray. 

Real  Fugue.  One  in  which  the  subject  and 
answer  are  identical,  as  opposed  to  Tonal 
Fugue,  q.  v. 

Rebab,  Rebec,  Rebeck,  Rebibe,  Rebible. 
One  of  the  precursors  of  the  violin  in  the 
middle  ages. 

Recheat.     A  hunting  signal  sounded  on  the 

horn  to  recall  the  hounds. 
Recht  (Ger.).     Right. 

Recitando  (It.)  {reh-chee-tan'  -do),  Reci- 
tante  {reh-chee-tan' -teli).  In  the  style  of 
a  recitative. 

Reci''tative  (Eng.),  Recitatif  (Fr. )  {re-cee- 
ta-teef),  Recitativo  (It.)  {reh-chee-ta-tee'- 
vd),  Recitativ  (Ger.)  (i-eh-see-ta-tiv'). 
Declamatory  singing,  resembling  chanting 
somewhat,  tand  supposed,  when  invented 
in  1600,  to  be  a  revival  of  Greek  art. 
Abbreviation  Recit. 

Recitative  Accompaniment.  The  string 
band  is  generally  used  to  accompany  Recita- 
tive. If  the  accompaniment  is  at  all  elabo- 
rate the  freedom  of  tlie  singer  is  greatly 
curtailed.  Modern  writers  frequently  use 
the  whole  resources  of  the  orchestra  to 
accompany  Recitative. 

Recitativo  secco.  Dry  Recitative  was 
accompanied  very  sparingly  with  chords. 
It  was  customary  at  one  time,  during  the 
pauses  of  the  voice,  for  the  violoncello  to 
execute  impromptu  flourishes. 

Reciting  Note.  In  Gregorian  chant,  the 
dominant,  being  the  note  on  which  the 
greater  part  of  the  reciting  is  done. 

Recorder.  An  obsolete  instrument  of  the 
flageolet  family ;  also  an  old  name  for  the 
ilute. 

Redita  (It.)  [reh-dee^-ta).     A  repeat. 

Redowa,  Redowak,  Redowazka.  A  Bo- 
hemian dance  in  |  time. 

Redundant.     Same  as  Augmented. 

Ran'degger,  A.  Composer;  Austria.  B. 
1832. 

Rappoldi,  E.  [rap-poF-  dee).  Composer, 
violinist;   Austria.      B.  it>39;  d.  1903. 

Rappoldi,  Laura  K.  (his  wife).  Pianiste ; 
Austria.      B.  1853. 

Ravenscroft,  Thos.  Composer;  England. 
B.  1582;  d.  1635. 

Reeves,  J.  Sims.  Tenor;  England.  B. 
1S18. 


Reed,  Zunge  (Ger.)  (tsoon'-geh),  Anche 
(Fr.)  [oush),  Ancia  (It.)  {a7i' -che-a).  The 
technical  name  for  the  small  thin  strip  of 
metal,  cane,  or  wood,  the  vibration  of 
which  causes  the  sound  of  a  variety  of 
instruments.  There  are  three  kinds  of  reeds: 
(l)  The  single  beating  reed  of  instruments 
of  the  clarionet  family ;  also  of  the  reed- 
stops  of  the  organ.  (2)  The  double  reed 
of  the  hautboy  and  bassoon  family,  also  of 
the  bagpipe ;  these  two  varieties  are  never 
used  except  in  conjunction  with  a  tube  or 
pipe.  (^3)  The  free  reed  of  the  cabinet-organ, 
vocalion,  etc.  This  reed  may  be  used  with 
or  without  a  tube.  The  effect  of  the  tube 
when  combined  with  the  free  reed  is  analo- 
gous to  that  of  a  resonator,  /.  e. ,  the  vibra- 
tion of  the  contained  air  is  sympathetic, 
whereas  in  the  other  cases  the  vibration  of 
the  reed  is  controlled  by  the  column  of  air. 

Reed  Instruments.  Those  in  which  the 
sound  is  produced  by  the  vibration  of  a 
reed  in  the  mouthpiece. 

Reel.  A  lively  dance,  nationalized  in  Ireland 
and  Scotland ;  supposed  to  be  of  Danish 
origin,  as  the  same  kind  of  dance  is  found 
there  under  the  name  of  Hreol. 

Refrain.  Burthen.  (i)  The  chorus  at  the 
end  of  every  stanza  of  some  ballads.  (2) 
The  drone  of  a  bagpipe.  (3)  The  tune 
sung  as  an  accompaniment  to  dancing. 

Regales  de  bois  (Fr.)  (reh-gal de bo-a).    See 

Xylophone. 

Regals,  Rigals,  Rigoles.  Small,  portable 
organs  with  one  or  two  sets  of  pipes,  car- 
ried by  a  strap  round  the  neck  of  the  player, 
who  worked  the  bellows  with  his  left  hand 
and  manipulated  the  keyboard  with  the 
right. 

Register.  (i)  Same  as  stop,  or  rank  of 
pipes.  (2)  The  projecting  knobs  on  which 
the  names  of  the  stops  are  marked.  (3) 
The  compass  of  a  voice.  (4)  One  of  the 
divisions  of  the  voice ;  as,  chest  register, 
head  register. 

Registration.  The  combinations  and  suc- 
cessions of  stops  used  by  an  organist  in  the 
performance  of  a  piece. 

Regie  de  I'octave  (Fr.)  (regl  de  loc-tav). 
See  Rule  of  the  Octave. 

Rei''cha,  A.  J-  Composer,  theorist ;  Bohemia. 
B.  1770;  d.  1836. 

Reichardt,  Alex.  Composer,  tenor;  Ger- 
many.     B.  1825  ;   d.  1885. 

Reichardt,  Johann  F.  Composer,  writer; 
Germany.      B.  1752;  d.  1814. 

Reichardt,  Louise  (daughter  of  J.).  Com- 
poser;  Germany.       B.  1778;  d.  1826. 

Reinecke,  Carl  {rei'  -  nek-keh\.  Composer, 
pianist;   Allona.      B.  1S24;  d.  191c. 


RELATIVE  CHORD 


78 


RHYTHM 


Relative  Chord.  A  chord  whose  members 
are  found  in  the  scale. 

Relative  Key.  One  whose  tonic  chord  is 
one  of  the  common  chords  found  in  the 
scale. 

Religioso  (It.)  {reh-lee-jo^-so),  Religiosa- 
mente  [reh- lee -jo  -  sa-men'- teh).  In  a 
devotional  manner. 

Relish.     An  obsolete  harpsichord  grace. 

Remote  Key.     A  non-related  key. 

Remplissage  (Fr.)  {rom-plis-sazh).  Filling 
up.  (i)  The  inner  parts.  (2)  Sometimes 
used  in  the  same  sense  as  "development" 
{durchfiihrung)  in  the  sonata  or  rondo. 
(3)  Non-essential  (ripieno)  parts.  (4) 
Used  in  a  contemptuous  sense  of  a  clumsy, 
overloaded  composition. 

Rendering.  A  modern  term  which  is  sup- 
posed to  mean  more  than  saying  one 
"played"  or  "sang." 


Repeat.     A  double  bar  with  dots,  thus 


i 


signifies  that  the  part  before  the  double  bar 
is  to  be  repeated.     If  the  dots  are  on  both 


sides    -4 


r-     it  signifies  that  the  parts  be- 


fore and  after  the  double  bar  are  to  be  re- 
peated. 

Repercussion.  The  re-entry  of  subject  and 
answer  in  a  fugue,  after  an  episode. 

Repetition.  (l)  The  reiteration  of  a  note 
or  chord.  (2)  A  pianoforte  action  invented 
by  Erard,  which  admits  of  the  re-striking 
of  a  note  before  the  key  has  risen  to  its 
normal  position.  (3)  The  re-entry  of  one 
of  the  principal  themes  of  a  sonata  or 
rondo. 

Repetition  (Fr.)  {rek-peh-tis-yong).  A 
rehearsal. 

Repetizione     (It.)      (reh-peh-titz-e-oh^-neh). , 
Repetition. 

Replicate.  The  recurrence  of  the  same 
letter  in  an  ascending  or  descending  series; 
the  octave  repetitions  of  a  given  letter. 

Reply,  Repons  (Fr.)  {i-ehpong),  Reponse 
(Fr. )  [7-eh-pojigs),  Report.  The  "  answer  " 
to  a  fugue  subject  or  theme  for  imitation. 

Reprise  (Fr.)  {rehprees).  (l)  A  repeat. 
(2)  The  re-entry  of  the  principal  theme  in 
the  second  part  of  a  sonata;  also  called 
R entree  (rong-treh). 

Reinhold,  Hugo.      Composer;  Austria.     B. 

1854. 
Reinthaler,  C.  M.  (rein'-tah-ler).   Composer, 

organist;   Saxony.      B.  1822;   d.  1896. 

Reissiger,  C.  G.  {rice^-see-ger).  Composer; 
Germany.     B.  1798;  d.  1859. 


Requiem  (Lat.).  "Rest."  The  first  word 
in  the  mass  for  the  dead,  hence  called 
requiem  mass. 

Resin  or  Rosin.  The  clarified  gum  of  the 
pitch  pine. 

Resolution.  The  movement  of  a  dissonant 
to  a  consonant  sound. 

Rests.  Signs  indicating  silence  of  the  same 
duration  as  the  notes  for  which  they  stand. 
In  all  varieties  of  time  the  whole  rest  is 
used  to  indicate  a  silence  of  one  measure. 

-  -.rs^  -^    i\   %    ^ 

Whole    Half  Quarter   Eighth   Six-  Thirty-  Sixty- 
Rest.     Rest.     Rests.       Rest,  teenth  second  fourth 

Rest.     Rest.     Rest. 

Three  forms  of  quarter-rest  are  found.    No. 

1  is  generally  found  in  music  printed  from 
type,  Nos.  2  and  3  in  engraved  music.    No. 

2  is  the  most  convenient  form  in  MS.      In 
orchestral  parts  a  rest  of  two  measures  is 


indicated  thus 


three 


four 


Any  number  of  measure  rests  may  be  ex- 
pressed by  combining  these  three  signs,  but 
when  the  number  exceeds  six  it  is  generally 


expressed  thus : 


a  heavy  di- 


agonal line  with  numeral  above  it. 

Retardation.  The  prolonging  of  a  sound 
which  is  a  member  of  one  chord  into  a 
chord  in  which  it  is  not  a  member,  thus 
producing  a  dissonance.      See  Resolution. 

Reverie.  A  sentimental  name  used  by  some 
modern  writers  for  composition  of  like  char- 
acter, generally  in  lyric  form. 

Rhapsodie  or  Rhapsody  [from  Gr. ,  rhabdos, 
a  staff].  The  Rhapsodists  were  wandering 
reciters  who  carried  a  long  staft.  The  term 
is  now  applied  to  an  irregular,  formless 
composition  which  "  wanders "  from  one 
theme,  or  key,  or  tempo  to  another  at  the 
will  of  the  composer. 

Rhythm,  (i)  The  recurrence  of  accents  at 
equal  intervals  of  time.  (2)  The  repetition 
of    a    group    of    sounds     (not    necessarily 

Rellstab,  H.  F.  L.  Composer,  writer ; 
Germany.      B.  1799;   d.  i860. 

Rellstab,  J.  C.  F.  (father  of  H.).  Com- 
poser, writer;  Germany.  B.  1759  >  d. 
1813. 

Remenyi,  Ed.  {reh' -tnen-yee).  Violinist; 
Hungary.     B.    1830 ;  d.  J898. 


RICERCATA 


79 


RITMO  A  TRK  HATTATE 


melodic)  at  equal  intervals  of  time.      This 
is  an  illustration  of  the  first  meanin" : 


^=fc:: 


:^^- 


?^ 


This,  of  the  second  ; 


The  first  may  be  called  the  essential  rhythm  ; 
it  is  never  destroyed,  no  matter  how  much  it 
may  be  divided  by  the  second  or  ideal 
rhythm ;  thus  the  essential  rhythm  of  the 
following  passage  is  \'  2  3;  the  ideal 
rliythm  varies  with  each  measure: 


V     1 

/Sv   '1—^  • 

-^ « 

_• <-#  » 

-0—(2— 

W^    : 

~f~ — ^ — ' — ! — 

t-r  - 

Rhythm  is  the  first  essential  of  melody ; 
without  it  we  have  only  an  aimless  rising 
and  falling  of  sounds.  The  essential 
rhythm  is  a  fixed  quantity  which  will  bear 
very  little  tampering  with.  Witness  the 
generally  unsatisfactory  effect  of  those  com- 
positions in  which  alternate  measures  of 
two  and  three  units  are  used.  Its  pace  may 
be  changed  by  acceleration  or  retardation 
provided  the  rhythmical  unit  is  maintained. 
The  ideal  rhythm,  or  rhythm  of  the  melo- 
dy, is,  on  the  other  hand,  completely  under 
the  composer's  control,  provided  that  its 
melodic  motives,  phrases,  etc  ,  may  be 
"measured"  by  the  rhythmical  units 
adopted  as  the  "  time  signature." 
Ricercata  (It.)  {ree-che7--cali'-ta').  A  species 
of  fugue  very  highly  elaborated. 

Rigadoon.  A  rapid  dance  of  French  origin, 
generally  in  \  time. 

Rigore    (It.)    {ree-go' -reh)^    con,    Rigoroso 

[^1  ee-go-ro'-so).       With    rigor;    exactly;    in 

strict  time. 
Rilasciando     (It. )     (7-ee  -  lah  -  she  -  an'  -  do), 

Rilasciante  {i-ec-lah-she-an' -te).    Relaxing 

the  time  ;   retarding. 
Rimettendo  (It  )  {i-ee-tnel-teti'-do).     Holding 

back  ;   retarding. 
Rinforzando    (It.)    {rin-for-tzan' -do) ,   Rin- 

forzare    [rin-for  -  tzah'-refi),    Rinforzato 

Rheinberger,  J.  [rine'-her-ger).  Composer, 
organist:   Germany.      B.  1859;   d.  icoi. 

Ricci,  F.  {rit'-chee).  Composer;  Italy.  B. 
1809;  d.  1877. 

Ricci,  Luigi  (brother  of  F.).  Composer; 
Italy.      B.  1805;   d.  1859. 

Richards,  Brinley.  Composer,  pianist ;  Eng- 
land.     B.  1817;   d.  1S85. 

Richter,  E.  F.  E.  Composer,  writer ;  Ger- 
many.     B,  1808;   d.  1879. 

Richter,  Hans.  Composer,  conductor;  Ger- 
many.     B.  1843. 


(  rin  -for  -  tzah'  -  to).  Lit. ,  re-enforcing. 
Placing  a  strong  accent  on  a  note  or  pas- 
sage. 

Ripieno  (It.)  (ree-pee-elt'-iio).  "  Filling  up." 
A  part  that  is  not  essential  to  the  score, 
added  to  increase  the  volume  of  a  tutti. 

Ripigliare  (It.)  [ree-peel-yak' -re/i),  Ripren- 
dere  [I'ee-pren' -deli-reh).     To  resume. 

Ripresa  (It.)  {ree-prch'-iali),  Riprese  (Fr. ). 
A  repeat ;  the  sign     j^. 

Risentito  (It.)  [ree-sen-tee'-to).  With  ener- 
getic expression. 

Risolutamente  (It.)  {ree-so-hi-ta-nten'-tc). 
Resolutely. 

Risoluto  (It.)  {rec-so-lu'to).      Resolute. 

Risoluzione  (It.)   [ree-so-lootze-o-iie/i),  con. 

With  resolution. 
Risvegliato  (It.)  [ris  velil-ya-to).    Animated; 

lively. 

Ritardando  (It.)  {ree-tar-dan'-do),  Ritar- 
dato  \ree-tar-diih'-to),  Ritenuto  [ree-ten- 
00' -to),  Ritenente  [rec-ten-en'  teh).  Hold- 
ing back  ;   retarding.      Abbreviation  Rit. 

Ritmo  (It.).      See  Rhythm. 

Ritmo  a  due  battate.      Of  two  measures. 

Ritmo  a  tre  battate.  '  )f  three  measures. 
The  following  passage,  which,  being  written 
in  \  (scherzo)  time,  looks  like  a  six-bar 
phrase,  is  in  reality  a  two-bar  phrase, 
founded  on  the  triple  unit : 


Ritmo  a  trc  baltate. 


written  in  \  time;   or  it  may  be  written  in  \ 
time  with  triplets. 

This  example  is  analogous  to  the  oft- 
quoted  one  in  the  scherzo  of  Beethoven's 
ninth  symphony. 

Riemann,  Hugo  {ree' -  man).  Theorist; 
Germany.      B.  1849. 

Ries,  F.  {rees).  Composer;  Germany.  B. 
1784;   d.  1838. 

'R\g,h\ii.\,\.  (fee-i^ee'-nee).  Composer;  Italy. 
B.  1756;  d.  1812. 

Rimbault,  Ed.  F.  Composer,  organist, 
writer;    England.      B.  1816  ;   d.  1876 

Rimbault,  Stephen  F.  Composer,  organist ; 
England.      B.  1773;   d.  1837. 

Rink,  J.  C.  H.  composer,  organist ;  Ger- 
many.    B.  1 770;  d.  1846. 


RITORNELLA 


80 


RUSIiX 


Ritornella  (It.)  {ree-tor-nel'-la').  Interlude; 
chorus  ;   burden  ;   tutli  in  the  old  concertos. 

Robusto  (It.)  {ro-biis^-(o).     Robust;  bold. 

Roger  de  Coverly.  Old  English  country 
dance  in  |  time. 

Rbhrflote  (Ger.)  {rare'-Jla-teh).  Reed-flute; 
a  flute-stop  in  the  organ. 

Role  (Fr. )  [ro/l).  The  part  in  an  opera  or 
play  assigned  to  any  performer. 

Roll,  Wirbel  (Ger.),  Rollo  (It.),  Roule- 
ment  (Fr. ).  The  tremolo  produced  on  the 
drum  by  the  rapid  alternation  of  blows  with 
the  drumsticks.  On  the  kettle-drum  the  roll 
is  produced  by  single  alternating  blows  ;  on 
the  side  drum,  by  double  alternating  blows. 

Romance.  (l)  A  ballad.  (2)  An  instru- 
mental piece  in  lyric  form,  of  romantic 
character  ;  often  used  as  the  slow  movement 
of  a  sonata,  etc. 

Romanesca  (It.)  {ro-via-iies'-ca),  Roman- 
esque (Fr. )  (j-o-inan-esk).  Same  as  Gal- 
li(nd. 

Romantic.  A  vague  term  for  that  form  of 
art  in  which  the  emotional  content  is  con- 
sidered   as  of    more    importance    than    the 


form.  The  tenn  "  romantic"  is  often  used 
as  opposed  to  classic  ;  but  the  application  of 
"classic"  is  as  vague  as  is  that  of 
"romantic."  The  element  of  time  seems 
to  be  an  essential  of  classicism,  the  work 
of  a  living  author  never  being  considered 
classic.  The  term  romantic  may  be  defined 
as  roughly  dividing  the  music  written  on 
harmonic  principles  from  that  written  before 
the  principles  of  harmonic  combination  and 
succession  were  discovered ;  but  already  the 
romantic  school  has  been  sub-divided  into 
what  may  be  called  the  classic-romantic 
and  the  new-romantic ;  but  since  every 
"  new  "  thing  must  in  time  become  "  o  d," 
this  last  school  must,  when  its  day  is  past, 
give  place  to  a  newer  romanticism. 
Rondo,  Rondeau  (Fr.).  One  of  the  fonns 
of  composition  characterized  by  the  return 
of  the  first  theme  after  the  presentation  of 
each  new  theme.  The  modern  rondo  par- 
takes of  the  character  of  the  sonata  form, 
in  that  its  second  theme  is  repeated  in  the 
tonic  key,  having  been  first  gi\'en  in  the 
dominant  key.  The  following  schemes 
exhibit  at  a  glance  the  usual  forms  of  the 
rondo  : — 


Major  Key. 

— ITh. 

II  Th. 

I  Th. 

II    III  Th. 

I  Th. 

II  Th. 

I  Th. 

Tonic. 

Dom. 

Tonic 

Subdoni. 
Rel.  mill. 
Par.  mill. 

Tonic. 

Tonic. 

Tonic 

Minor  Key. 

—ITh. 

II  Th. 

I  Th. 

II    III  Th. 

I  Th. 

II  Th. 

ITh. 

Tonic. 

Rel. 
major. 

Tonic. 

Subdoni. 
of  rel.  major. 

Tonic. 

Tonic, 
major. 

Tonic 

Example  of  Rondo  in  Major  Key, — last  movement  of  Op.  2,  No.  2  (Beethoven). 
Example  of  Rondo  in  Minor  Key, — last  movement  of  Sonata  Pathetique. 


Root.  The  fundamental  or  generating  note 
of  a  chord. 

Rosalia  (It.)  iros-al-ya).  The  repetition  of 
a  melodic  phrase  several  times,  each  time 
one  degree  higher  or  lower  than  the  last. 
It  gets  its  name  from  an  Italian  folk-song, 
"  Rosalia  Mia  Cara,"  the  melody  of  which 
is  constructed  in  this  way.  Although  not 
considered  good  writing,  many  examples 
may  be  found  in  the  works  of  the  greatest 

Ritter,  A.  G.    Composer,  organist ;   Germany. 

B.  1811;  d.  1885. 
Ritter,  Fred.  L.     Composer,  writer;   Alsace. 

B.  1831;  d.  1892. 
Ritter,    Fanny    Ravmond    (wife    of    Fred.). 

Writer;   U.  S.  A.'     B.  1840. 

Ritter,  Theodore.  Composer,  pianist ; 
France.      B.  1841  ;  d.  1886. 

Rochlitz,  F.  J.  Composer,  critic  ;  Germany. 
B.  1769;   d.  1842. 

Rockstro,  Will.  S.  Composer,  writer ;  Eng- 
land.     13.  1S30;  d.  1S95. 

Rode,  J.  P.  J.  Composer,  violinist ;  France. 
B.  1774  .   d.  1830. 

Roeckel,  J.  A.  Tenor;  Germany.  B. 
1783;  d.  1870. 


composers.  Three  such  repetitions  are 
generally  considered  allowable.  In  Ger- 
many the  Rosalia  has  the  ludicrous  name 
of  ScJiusteiJlt'ck  (cobbler's  patch),  also  Vet- 
ier  Michel  (Cousin  Michel),  from  its  occur- 
rence in  a  well-known  Volkslied,  "  Gestern 
Abend  war  Vetter  Michel  da." 

Rose.  The  sound-hole  in  the  belly  of  the 
guitar,  mandolin,  etc. 

Rosin.     See  Resin. 

Roeckel,  Ed.  (son  of  J.  A.).  Composer, 
pianist;   France.      B.  1816;  d.  1876. 

Roeckel,  J.  L.  (son  of  J.  A  ).  Composer, 
pianist:  "  England.  B.  1838.  [J.  L. 
Roeckel  writes  under  the  pseudonym  of 
Edward  Dorn.] 

Romberg,  Andreas.  Composer,  violinist ; 
Germany.      B.  1767.   d.  1821. 

Romberg,  Bernhard.  Composer,  'cellist; 
Germany.      B.  1767;   d.  1841. 

Ronconi,  Sebastian  [ron-ko' -nee^.  Baritone  ; 
Italy.      B.  1814. 

Rontgen,  Julius.  Compo.ser,  pianist ;  Ger- 
many.    B.  1855. 

Root,  Geo.  Y.  Composer,  writer ;  U.  S.  A. 
B.  1820;  d.  1895. 


ROTA 


81 


SALTATO 


Rota  (Lat.).     A  round. 

Rote.     Hurdy-gurdy  ;   vielle. 

Roulade  (Fr.)  i^roo-lad).  A  brilliant  run; 
an  ornamental  flourish. 

Round.  A  variety  of  canon,  the  imitation 
being  always  at  the  2>va  or  unison. 

Roundel,  Round,  Roundelay.  A  dance  in 
which  a  ring  with  joined  hands  was  formed. 
Roundelay  also  means  a  poem  with  a  con- 
stantly reiterated  refrain  or  burden. 

^ubaXo  [li.)  {roo-lxth' -to).  Robbed;  stolen. 
The  direction  Rubato,  or  Tempo  Rubato, 
indicates  a  style  of  performance  in  which 
the  rhythmic  flow  is  interrupted  by  dwelling 
slightly  on  certain  melodic  notes  and  slightly 
hurrying  others.  This  style  of  performance 
is  used  with  great  effect  in  the  modern 
intensely  emotional  school  of  music. 

Rosa,  Carl  A.  N.  Violinist,  conductor;  Ger- 
many.     B.  1842  ;  d.  1889. 

Rosellen,  Henri  [ro-  seF-  ien).  Pianist; 
France.      B.  181I;  d.  1876. 

Rosenhain,  Jacob  {ro'-sen-highn).  Com- 
poser, pianist;   Germany.    B.  1S13;  d.  1894. 

Rosenthal,  Moritz  [ro'-sen-tal).  Pianist; 
Germany.     B.  1862. 

Rossi,  Luigi  [ros'-see).  Composer;  Italy. 
B.  15—;  d.  16-. 

Rossini,  G.  A.  (ros-see'-nee).  Composer, 
Italy.      B.  1792;   d.  1868. 

Rousseau,  J.  I.ij'oos-so).  Composer,  writer ; 
Geneva.      B.  1712;  d.  1778. 


Ruhig  (Ger.)  [j-oo' -  ig).  Calm;  quiet; 
tranquilly. 

Rule  of  the  Octave.  An  old  formula  for 
putting  chords  to  the  diatonic  scale,  major 
or  minor. 

Run.  A  passage  founded  on  the  scale,  gener- 
ally used  in  vocal  music.  The  run  is 
generally  sung  to  one  syllable. 

Rusticano  (It.)  [t-zis-tee-cali'-no).    Rustically. 

Rustico  (It.)  [t-Hs'-tee-co).  Rustic;  pasto- 
ral. 

Rutscher  (Ger.)  (;w/^-5//<?;-).  "Slider."  Old 
name  for  the  galopade. 

Ruvido   [\t.)  (7'oo'-vee-do).      Rough;    harsh. 

Rythme  (Fr,)  {reethni'),  Bien  rythme  (Fr.), 
Ben  ritmato  (It.).     Well  marked  ;  e.\act. 

Roze,   Marie  P.     Soprano;   Paris.      B.  1846. 

Rubini,  G.  B.  (too-bee'-nee).  Tenor;  Italy. 
B.  1795;  d.  1854. 

Rubinstein,  Anton  G.  Composer,  pianist; 
Russia.      B.  1830 ;  d.  1894. 

Rubinstein,  N.  (brother  of  Anton).  Com- 
poser, pianist ;   Russia.     B.  1835  ;   d.  1881. 

Rudersdorff,  H.  Soprano ;  Russia.  B 
1822;  d.  1882. 

Rudorff,  Ernst  F.  Composer,  pianist ;  Ger- 
many.    B.    1840;  d.  i90-(?). 

Ruggieri,  F.  {>-ood-jee-eh'-ree).  Violin 
maker;   Italy.      B.  16 — ;  d.  17 — . 

Rummel,  Franz.  Pianist;  England.  B.1853, 
d.  1901. 


S.  Abbreviation  of  Segno  (sign) ;  Senza 
(without);  Sinistra  (left)  ;  Solo;  Subito 
(quickly). 

jP  A  sign  used  to  point  out  the  place  from 
which  a  repeat  is  to  be  made.  Al  jf?,  to 
the  sign  ;   Dal  ^,  from  the  sign. 

Sabot  (Fr.).  A  "shoe."  Part  of  the  mech- 
anism of  the  double-action  harp,  consisting 
of  a  revolving  disk  of  brass  with  two  piro- 
jecting  studs  ;  when  the  pedal  is  depressed 
the  string  is  caught  between  the  studs  and 
drawn  tighter,  thus  raising  its  pitch. 

Saccade  (Fr.)  [sac-cad).  A  strong  pressure 
of  the  violin  bow  on  the  strings,  causing 
two  or  three  to  sound  together. 

Sacchini,  A.  M.  L.  (sak-kee'-nee).  Corn- 
poser;   Italy.      B.  1734;  d.  1786. 

Saint-Saens,  Camille  {sa7igt-sah-07jg).  Com- 
poser, organist,  pianist ;    Paris.      B.  1S35. 

Sainton-Dolby,    Ch.     Helen.        Composer, 
contralto,    soprano  ;    England.       B.   1821  ; 
d.  1885. 
6 


Sackbut.  An  old  name  for  a  species  of 
the  trombone.      Sometimes  written  Sagbut. 

Sackpfeife  (Ger.).     Bagpipe. 

Saite  (Ger.)  (sy-te/t).      A  string. 

Salicional,  Salicet,  Salcional  [from  Lat., 
salix,  willow].  A  soft,  open  metal  organ- 
stop. 


Parlor    grand    piano- 
Parlor   piece ;     salon 


Salonfliigel    (Ger.). 

forte. 
Salonstiick    (Ger.). 

music. 
Saltarello  (It.)  {sal-tah-7-el'-ld)  [from  saltare, 

to  leap].     An  Italian  dance  in  triple  time. 

Saltato  (It.).  ".Springing  bow"  in  violin 
playing. 

Sainton,  P.  P.  C.  [saiigdong)  (husband  of 
S. -Dolby).  Composer,  violinist;  France. 
B..1813;  d.  1890. 

Salaman,  Ch.  Iv.  Composer,  pianist  ;  Eng- 
land.     B. 1S14;   d.  1901. 

Salieri,  A.  [sal-yeh'-ree).  Composer;  Italy. 
B.  1750 ;   d.  1825. 


SALTO 


82 


SCALE 


Salto  (It.).  A  skip.  A  counterpoint  that 
moved  by  skips  was  called  C.  P.  di  salto ; 
in  Lat.,  C.  P.  per  salteni. 

Sambuca.  Generally  supposed  to  be  an 
ancient  variety  of  the  harp.  The  Sabeca, 
mentioned  in  the  Bible  (Daniel  iii :  5,  7, 
10,  15),  translated  "  sackbut "  in  the 
English  version,  is  supposed  to  be  the  same 
instrument.  The  derivation  of  the  word  is 
not  known. 

Sampogna  or  Zampogna  (It.)  {sam-pone'- 
ya).     Bagpipe. 

Sanft  (Ger.).     Soft. 

Sans  (Fr.).     Without. 

Saraband,  Sarabanda  (It.),  Zarabarda 
(Sp.),  Sarabande  (Fr. ).  A  slow,  s*ately 
dance  in  \  time,  used  as  the  "slow  move- 
ment" in  the  suite.  The  Saraband  is 
founded  on  the  following  rhythm  : — 


r 


r 


r 


One  of  the  finest  examples  is  the  song  in 
"  Rinaldo,"  by  Handel,  '■^  Lascia  ck'  io 
pianga,"  which  is  said  to  have  been  written 
first  as  a  Saraband,  and  afterward  adapted 
to  the  words. 

Sarrusophone.  A  brass  wind  instrument 
with  a  double  reed  like  hautboy. 

Satz  (Ger.).  (i)  A  theme.  Hauptsatz,  prin- 
cipal theme  ;  Seitensatz,  secondary  theme ; 
Nebensatz,  auxiliary  theme;  Schluss- 
Satz,  closing  theme,  or  coda.  (2)  A  piece  ; 
composition. 

Saxhorn.  A  brass  instrument  with  from 
three  to  five  cylinders  or  pistons ;  invented 
by  A.  Sax.  Saxhorns  are  made  in  seven 
different  keys.  A  saxhorn  band  consists  of 
"high  horn"  (or  cornet),  soprano,  alto, 
tenor,  baritone,  bass  (or  tuba),  double  bass 
(or  bombardon).  The  "high  horn,"  alto, 
and  bass  are  in  eIz,  the  others  in  BJ?. 

Saxophone.  Brass  instrument  with  clarionet 
mouthpiece,  invented  by  A.  Sax.  Made 
in  seven  sizes,  corresponding  to  the  sax- 
horns, except  that  there  are  two  of  each 
kind,  differing  by  a  whole  tone   in  pitch  ; 

Sale,  Gasparo  da.  Violin  maker  ;  Italy.  B. 
1542;  d.  1609. 

Sankey,  Ira  D.     Vocalist;    U.    S.   A.      B. 

1840;   d.  1908. 
Santley,  Ch.     Baritone;   England.    B.  1834. 
3arasate,  P.  M.  M.  Y.  N.  {sah-rah-sah^-teh). 

Violinist,  composer;    Spain.     B.  1844;   d. 

1908. 
Sarti,   G.    (sar'-tee).       Composer,    organist; 

Italy.     B.  1729;  d.  1802. 

Salter,  Gustav.     Composer,  pianist ;  Austria. 

B.  1832. 
Sauret,  Emile  (j(r7f-ri7ji').     Violinist;  France. 

B.  1852. 


thus:    Sopranino  (high  saxophone)  in  F  and 
E|2,  soprano   in  C   and   B|?,  alto  in   F  and 
EIz,  tenor  in  C  and  B2,  baritone  in  F  and 
EJZ,  bass  in  C  and  Bj?.     The  saxophone  is 
extensively    used    in     France    in    military 
bands,  but  has  not  as  yet  found  its  way  into 
the  orchestra,  as  its  tone  quality  is  not  of  a 
character  to  mix  well  with  the  rest  of  the 
orchestra. 
Saxtromba.        Brass   instrument   resembling 
the  saxhorn,    but  differing    in  tone  quality 
from  having  a  narrower  tube. 
Saxtuba.     The  bass  .saxhorn. 
Sbalzato  (It.)  (sbalt-zah'-to).     Impetuously; 

dashing. 
Scale,  (i)  A  succession  of  ascending  or 
descending  sounds.  Major  Scale,  a  series 
of  sounds  with  a  half-tone  between  3-4  and 
7-8,  reckoning  upward.  Minor  Scale,  a 
series  of  sounds  with  a  half-tone  between 
2-3  and  5-6  in  the  natural  minor,  in  the 
Melodic  Minor,  7-8,  ascending.  The 
Melodic  Minor  descends,  like  the  Natural 
Minor;  in  the  Harmonic  Minor  there  are 
half-tones  between  2-3,  5-6,  and  7-8,  and 
a  tone  and  a  half  between  6  and  7.  The 
Minor  Scale  sometimes  descends  with  raised 
6  and  7.  Many  examples  may  be  found  in 
Bach's  music.  Chromatic  Scale,  one 
formed  wholly  of  halftones.  Pentatonic 
Scale  [Gr.,  penta,  five,  tonos,  sound],  one 
that  omits  the  4  and  7.  The  Pentatonic 
Scale  may  be  major  or  minor,  thus  : 


-A 


7^^ 


r<-«- 


=rt: 


■^ 


-s^i?^ 


rJ?^ 


i 


Hungarian  Gypsy  Scale  consists  of  the 
following  curious  succession  : — 


=^^t^ 


Si 


:bS: 


i 


(2)  The  series  of  overtones  of  a  simple 
tube,  such  as  the  horn  without  valves.  (3) 
In  organ-pipes,  the  proportion  between  the 
length  and  the  diameter.     (4)   In  the  piano, 

Sax,  Antoine  J.     With  his  father,  inventor  of 

saxhorns,    saxophones,    etc. ;     France.       B. 

1814;  d.  1894. 
Sax,  Ch.  J.  (father  of  A.  J.).     With  his  son, 

inventor    of    saxhorns,     saxophones,    etc.; 

France.      B.  1791  ;   d.  1865. 
Scalchi,  Sofia  {skal'-kee).     Alto  ;    Italy.     B. 

1850, 
Scarlat^ti,  A.     Composer ;  Italy.     B.  1659; 

d.  1725. 
Scarlaf'ti,  Dominico  (son  of  A.V     Composer, 

pianist;   Italy.      B.  1683 ;  d.  1757. 
Scarlat'ti,  G.  (sonof  D.).     Composer;  Italy. 

B.  1712;  d.  1777. 


SC  EM  AN  DO 


83 


SCHOTTISCHE 


the  proportion  between  the  length,  weight, 
and  tension  of  the  string,  and  the  pitch  of 
the  sound  it  is  meant  to  give.  Piano 
builders  include  many  other  points  in  the 
term  "scale;"  those  given  are  the  most 
important. 

Scemando  (It. )  {shay-man' -do).  See  Dimin- 
uendo. 

Scena  (It.)    [shay-nah).      (l)   A  scene.     (2) 

A  solo  for  voice  in  which  various  dramatic 

emotions  are  expressed. 
Scenario    (It.)    (shay-nahr'-yo).       (i)    The 

plot  of  a  drama.      (2)  The  book  of  stage 

directions. 

Scene.  (l)  'it.^  Scena.  (2)  A  division  of  a 
dramatic  performance.    (3)   A  stage-setting. 

Schablonenmusik  (Ger.).  "Pattern"  or 
"stencil"  music,  i.  e.,  correct,  but  unin- 
spired. 

Schaferlied  (Ger.)  [shay'-fer-leet').  Shep- 
herd song ;  pastoral. 

Schaferspiel  (Ger.)  [s/tay'fer-speel).  Pas- 
toral play. 

Schallbecken  (Ger.).  "Sound  bowls;" 
cymbals.     Frequently  called  Becken. 

Schalmy.     See  Chalanieau. 

Scharf  (Ger.).     Sharp.     A  mixture-stop. 

Schaurig  (Ger.).     Weird;  dread-inspiring. 

Scherz  (Ger.)  [sherts).      Droll;  playful. 

Scherzando  (It.)  [sker-tzan'-do],  Scher- 
zante  (sker-tzan'-teli),  Scherzevole  [sker- 
tzeh'-vo-leh),  Scherzoso  {sker-tzo'-so).  All 
derived  from  scherzo,  and  signifying  a  light, 
playful  style  of  performance  or  composition. 

Scherzhaft  (Ger. ).     Funny;    amusing. 

Scherzo  (It.)  (.f/^fr/'-so).  A  "jest."  (i)  A 
piece  of  music  of  a  sportive,  playful  charac- 
ter. (2)  A  symphony  or  sonata  movement 
of  this  character,  taking  the   place  of  the 

Schad,  Jos.  Composer,  pianist ;  Germany. 
B.  1812;  d.  1879. 

Scharwenka,  Philipp  {shar-ven'-ka).   Pianist, 

composer;   Polish  Prussia.      B.  1847. 
Scharwenka,  Xaver.  Polish  Prussia.  B.  1850. 

Schauroth,  Adolphine  von  {show  -  rote') . 
Pianist ;   Germany.      B.  1814. 

Schikaneder,  J.  E.  Basso;  Germany.  B. 
1751  ;   d.  1812. 

Schilling,  Gustav.  Writer;  Germany.  B. 
1805  ;   d.  1880. 

Schindler,  Anton  {shini'-  ler).  Germany. 
B.  1796;  d.  1864. 

Schmidt,  Aloys.  Composer,  pianist ;  Ger- 
many.     B.  1789;  d.  1866. 

Schneider,  Fr.  J.  C.  Composer,  organist, 
writer;  Germany.      B.  1786;   d.  1853. 

Schneider,  J.  G.  Composer,  organist;  Ger- 
many.    B.  1789;  d.  1864. 


minuet.  Haydn  first  changed  the  character 
of  the  minuet,  while  still  retaining  its  name, 
by  giving  it  a  light,  playful  character  and 
more  rapid  tempo.  Beethoven  discarded 
the  name  and  adopted  that  of  Scherzo,  and 
still  further  increased  the  rapidity  of  the 
movement ;  all  that  he  retained  of  the 
minuet  was  the  \  time.  Many  composers 
since  Beethoven  have  made  still  further 
departures,  Scherzi  being  now  written  in  | 
and  I  time. 

Schiettamente  (It.)  {she  -  et- ta  -  tnen'-  teh). 
Without  ornament. 

Schietto  (It.)  {ske-ef -to).      Simple  ;   neat. 

Schleppend  (Ger. ).     Draggmg  ;  retarding. 

Schluss  (Ger. ).      End;   close. 

Schliissel  (Ger. ).     Key;  clef. 

Schlussfall  (Ger.).     Cadence. 

Schlussnote  (Ger.).     Last  note. 

Schluss-Satz  (Ger.).     Last  movement ;  last 

theme  ;   coda. 
Schmeichelnd    (Ger.).        Coaxing ;     lusin- 

gando. 
Schmelzend   (Ger.)   {schmel'-tzend).      Lit., 

melting  ;   niorendo. 

Schmerz  (Ger.)   {schtnetts).     Pain;  sorrow. 

Schmerzlich  (Ger. ).     Painful;  sorrowful. 

Schnell  (Ger.).     Quick. 

Schneller  (Ger.).  An  inverted  mordent 
(called  mordent  in  modern  usage) : 


/W 


Written 


with  accent  on  the  first  note. 
Schottische.     A  dance  in  |  time  resembling 
the  polka. 

Schneider,  Wilhelm.  Composer,  organist; 
Germany.     B.  1783;  d.  1843. 

Schnyder  von  Wartensee,  Xaver.  Com- 
poser, writer;  Switzerland.  B.  1786;  d. 
1868. 

Schoberlechner  {sho' -ber-lech-ner).  Com- 
poser, pianist;  Austria.     B.  1797  ;  d.  1843. 

Schroder-Devrient,  Wilhelmina.  Soprano; 
Germany.     B.  1804;   d.  i860. 

Schubert,  Franz  Peter.  Composer ;  Austria. 
B.  1797;  d.  1828. 

Schuberth,  Carl.  Composer,  'cellist ;  Ger- 
many.    B.  1811 ;  d.  1863. 

Schulhoff,  Julius  {shool' -hof).  Composer, 
pianist;   Bohemia.      B.  1825;  d.  1898. 

Schumann,  Robt.  A.  Composer,  pianist ; 
Germany.      B.  1810;  d.  1S56. 

Schumann,  Clara  (Wieck)  (wife  of  Robt.). 
Pianist;  Germany.     B.  1S19;   d.  1S96. 


SCHUSTERFLECK 


84 


SENTITO 


Schusterfleck  (Ger.).     See  Rosalia. 

Schwach  (Ger.;.     Weak,  soft. 

Schwarmer  (Ger.).     See  Kauscher. 

Schwebung  (Ger.)  [shveh'-boonk).  A  beat. 
(Acoustic,)  i.  e..  produced  by  the  simulta- 
neous vibration  of  two  sounds,  especially 
prominent  m  unisons  and  octaves  when  not 
in  tune. 

Schweigezeichen  (Ger.)  (schvei-geh  tseich- 
eu).      Lit.,  "  silence  sign."     A  rest. 

ochwellen    or   Anschwellen    (Ger.).       To 

swell  the  tone, 
ochweller  (Ger. ).     The  swell  organ. 
Schwellton  (Ger.).      See  Afessa  di  Voce. 
Schwellwerk  (Ger.).     See  Schweller. 
Schwer  (Ger.).      Heavy;  difficult. 

Schwermiitig  (Ger.)  (schvehr'-mee-Hg). 
Sad;   pensive. 

Schwindend  (Ger.).     See  Morendo. 

SchwungvoU  (Ger.)  (schvoong'-foll).  With 
elevated  passion. 

Scintillante  (It.)  {shm-til-lan'-teh),  Scintil- 
lante  iFr. )  {sin-tee-yoiig).  Scintillating; 
brilliant  ;  sparkling. 

Sciolto  (It.)  [shol'-lo),  Scioltezza  {shol- 
/ei'-za),  con,  Scioltamente  [shol-tah  vien'- 
teJt).  Freedom;  fluency;  with  freedom; 
freely. 

Score.     See  Partitur. 

Scoring.     See  Instrumentation. 

Scorrendo  (It.)  {skor-ren'-do),  Scorrevole 
[skor-reh'-vo-leh).     Gliding;  glissando. 

Scotch  Snap.  A  short  note  followed  by  a 
longer  one ;    thus    u     i  borrowed  from 

Hungarian  gypsy  music. 

Scozzese  (It.)  {skotz-zek'-seh),  alia.  In 
Scotch  style. 

Scroll.     The  head  of  the  violin,  etc. 

Sdegno  (It.)  {sdehn'-yo').     Scorn;  disdain. 

Sdegnosaments  (It.)  {sdehtt' -yo - sa ■  men' - 
tell)      Scornfully. 

Sdegnoso  (It.)  (sdekn-yo'-so).     Scornful. 

Sdrucciolando  (It.)  {sdroot  -  sho- lan'-do'). 
See  Glissando. 

Se  (It.)  (.rr/i).     As  if. 

Sec  (Fr.),  S«cco  (It.).  Dry.  See  Reci- 
tative. 


Schuppai>zigh,     Ignaz     {shup' -  pan  -  tzigh). 

Violinist;   Austria.      B.  1776;  d.  1830. 
Schiitt,  Ed.      Pianist;  Russia.     B.  1856. 

Sec'"'ter,  S.      Composer,  organist ;  Germany. 

B.  1788;  d.  1867. 
Reeling,  Hans.    Pianist,  composer ;  Bohemia. 

B.  1S28;  d.  1862. 
Seguin,  A.   E.   S.       Basso ;    England.       B. 

1809;  d. 1852. 


Second.  (l)  An  interval  embracing  adjacent 
letters.  (2)  The  lower  of  two  equal  voices 
or  instruments.  (3)  The  alto  in  a  vocal 
quartet  or  chorus. 

Seconda  Donna.  .Second  lady ;  the  next  in 
rank  after  the  prima  donna. 

Secondo  (It.)  {seh-con' -do).  Second;  the 
lower  part  in  a  duet  for  two  voices  or  instru- 
ments ;  the  lower  part  in  a  four-hand  piano- 
forte composition. 

Seele  (Ger.)  {seh'-leh),  Ame  (Fr.).  Soul. 
The  sound-post  of  the  violin. 

Sag  (It.).  Abbreviation  of  Se^ue,  ^.  7'.,  and 
of  Segno. 

Segno  (It.).     See  abbreviation  S. 

Segue  (It.)   {sehg' -well).     Follows.     Segue 

il  coro,  the  chorus  follows. 
Seguendo    (It.)    (sehg-7ven'-do),    Seguente 

{sehg-7ven'-teh).      Following.      Attacca    il 

seguente,  attack  what  follows. 

Seguidilla  (Sp. )  [seh-gwee-deel' -ya).    A  dance 

in  I  time. 
Sehnsucht  (Ger.).     Longing. 
Sehnsiichtig  (Ger.).     Longingly. 
Sehr(Ger.).     Very. 
Semi-breve.     A  whole  note.    G 
Semi-chorus,       Half    the  chorus ;     a  small 

chorus. 
Semi-grand.   A  small  (half )  grand  pianoforte. 

Semi-quaver.     A  sixteenth  note.     ^    ^ 

Semi-tone.  A  half  totie.  A  chromatic  semi- 
tone changes  the  pitch  without  changing  the 
letter;  as,  C — CC;  a  diatonic  semi-tone 
changes  both,  as,  C — D[?. 

Semplice  (It.)  (^sem-plee'-cheJi).      Simple. 

Semplicimente  (It.)  {se??i-plee-c/iee-men'-tek). 
Simply ;   unaffectedly. 

Semplicita  (It.)  {seni-plee'-chee-tah),  con. 
With  simpl'city. 

Sempre  (It.)  {sem'-preli).      Always. 

Sensibile  (It.)  (sen-see' -bee-leh).  Sensible 
(Fr.)  {song-seebl).  Nota  sensibile,  the 
leading  note.  Note  sensible,  "sensitive" 
note. 

Sensibilita  (It.)  {sen-see-bee' -lee-ta/i),  con. 
With  feeling. 

Sentito  (It.)  {sen  •  tec' -  to) ,  Sentimento 
{sen-tee-nien'-to),  con.  With  feeling;  with 
sentiment. 

Seguin,  Ann    Childe    (wife    of  A.    E.    S.). 

Soprano;    England.     B.  18 — ;  d.  18S8. 
Seguin,  W.  H.  (brother of  A.  E.  S.).    Bas.so; 

England.      B.  1814 ;  d.  1850. 
Seidl,   Anton.      Conductor;    Hungary.      B, 

1850;  d.  1898. 
Sembrich,  Marzella.      Soprano ;    Germany. 

B.  1858. 


SENZA 


85 


SICILIANO 


Senza  (It.)  {sett-fza).     Without. 

Septet,  Septuor.     A  composition  for  seven 

solo  voices  or  instruments. 
Septole     (Ger.).       Septuplet ;    a    group   of 

seven. 
Se  piace    (It.)     {sfh  pe-ah'  -cheh).       "Please 

yoursL-l f ' '     Ad  libituvi. 

Sequence,  Melodic.  The  repetition  of  a 
melodic  plirase  at  regular  intervals.  Har- 
monic Sequence,  the  repetition  of  a  har- 
monic progression  at  regular  intervals. 
Contrapuntal  Sequence,  a  succession  of 
common  chords  with  roots  moving  in  a 
regular  "  pattern." 


:t: 


•-« 


H H 


±: 


-1 — ^ 


Melodic  Sequence. 


Harmonic  Sequence. 


-(S^ 


_>a &i_ 


t 


J=J: 


=S=-i 


I 


f 


'f^ 


that 


Contrapuntal  Sequence. 

Seraphine.       A    free-reed    instrument 
preceded  the  harmonium. 

Serenade,  Serenade  (Fr.),  Serenata  (It.), 
Standchen  (Ger.).  I.it.,  an  evening  song. 
The  Italian  form,  Serenata,  is  also  applied 
to  an  instrumental  symphonic  composition, 
and  by  Handel  to  his  cantata,  "  Acis  and 
Galatea." 

Serene  (It.)  (j(?-^-;ry^''-«o).    Serene;  tranquil. 

Serio  (It.)  {seh-re-o).     Serious. 

Serioso  (It.).     Gravely;   seriously. 

Serpent.  A  nearly  obsolete  instrument  made 
of  wood  covered  with  leather,  cup-shaped 
mouthpiece,  finger-holes,  and  keys. 

Service.  A  musical  setting  of  the  canticles, 
etc.,  of  the  Episcopal  church. 

Sesqui-altera.     A  mixture-stop  in  the  organ. 
In  ancient  musical  nomenclature  the  follow- 
ing compounds  with  Sesqui  were  used  :  — 
Sesqui-nona,  i.  e.,  the  ratio  of  9  to  10 ; 

minor  whole  tone. 
Sesqui-octava,  8  to  9 ;  major  whole  tone. 
Sesqui-quinta,  5  to  6 ;  minor  third. 

Servais,  A.  Francois  [ser-z/ay).  Composer, 
'cellist;   France.      B.  1807  ;   d.  1866. 

Servais,  Joseph  (ser-vay).  Composer,  'cellist; 
France.      B.  1850;  d.  1885. 

Seyfried,  J.  X.  Ritter  von.  Composer; 
Austria.     B.  1776;  d.  1841. 


Sesqui-quarta,  4  to  5  ;   major  third. 

Sesqui-tertia,  3  to  4  ;  perfect  fourth. 

Sesqui-tone,  a  minor  third. 
Sestet.     See  Sextet. 
Sestetto  (It.).      See  Sextet. 
Sestole.      See  Sextuplet. 
Seule  (Fr. )  (sool).      Alone. 
Seventeenth.     An  organ-stop  sounding  the 

octave  of  the  major  3d  above  the  diapason ; 

called  also  the  tierce. 
Seventh.    An  interval  including  seven  letters. 

Seventh  Major,  seven  letters  and  eleven 

half-tones,  as  C — B.    Seventh  Minor,  seven 

letters     and     ten     half-tones,     as     C — Bt?. 

Diminished    Seventh,  seven    letters   and 

nine  half-tones,  as  C# — Bj?. 
Severamente    (It.)    {seh-veh-rah-men' -  teh). 

Severely  ;   strictly. 
Severita   (It.)    {sehver'-eeta),   con.      With 

severity ;   exactness. 
Sextet,    Sestet,    Sestetto     (It.),     Sextuor 

(Fr. ).      A  composition  for  six  solo  voices  or 

instruments. 
Sextuplet.     A  group  of  six  notes  occupying 

the  time  of  four. 
Sfogato  (It.)    {sfo-i;ah' -tc>)   [from  ^fogare,  to 

evaporate].      A  soprano  voice  of  thin,  light 

quality  and  unusually  high  range  is  called  a 

soprano  sfogato. 
Sforzando  (It.)   {sfortz-an'-dd)  or  Sforzato, 

abbreviated    Sf.    or    Sfz.      "Forced."     A 

strong    accent     immediately    followed    by 

piano. 
Shake.     See  Trill. 
Sharp.     The  sign,  ft,  which  raises  the  pitch 

of  a  letter  a  half  tone.     Sharp  is  sometimes 

used  in  the  sense  of  augmented,  as  sharp 

6th  for  augmented  6th  ;   popular  name  for 

the  black  keys  of  pianoforte  and  organ. 
Sharp  Mixture.    A  mixture  with  shrill-voiced 

pipes. 
Shawm.     See  Chalameau. 

Shift.  A  change  in  the  position  of  the  left 
hand  on  the  fingerboard  of  the  violin  ;  each 
shift  is  a  fourth  higher  than  the  preceding 
one. 

Si.  (i)  The  note  B  in  French.  Italian,  and 
Spanish.  (2)  The  Italian  impersonal  pro- 
noun, "one,"  or  "they,"  as,  si  piace, 
"  one"  pleases,  i.  e.,  as  you  please. 

Siciliano  (It.)  {see-cheel-ya^-no),  Sicilienne 
(Fr.)  {see-see-lee-en).  A  pastoral  dance  in 
slow  ^  time ;  slow  movements,  vocal  or 
instrumental,  are  frequently  called  Sicilianas. 

Sgambati,  G.  (jgam-bah'-tee).  Composer, 
pianist;   Italy.      B.  1843. 

Shakespeare,  Wm.  Tenor,  teacher ;  Eng- 
land.    B.  1849. 

Sherrington,  H.  Lemmens.  Soprano  ;  Eng- 
land.     B.  1834. 


SIDE  DRUM 


86 


SMINUENDO 


Side  Drum.     See  Drum. 

Siegeslied  (Ger.)  {see' -gcs-leed).  Song  of 
victory. 

Signs.  (Only  the  most  important  are  here 
given.  Complete  information  may  be 
obtained  by  consulting  the  "Embellish- 
ments of  Music,"  by  Russell.) 

•     '  T  ^  # 

Staccato,     Vibrato.     Pause.      Abbreviation,  signi- 
Spiccato.  fyiiig  the  repetition  of 

tlie  preceding  figure. 


Segno.  Repeat.  Slur,  when    over    or 

under  sounds  of  diflerent 
pitch,  signifying  legato. 
Tie,  when  the  notes  are 
on  the  same  degree. 

\        ^        '^        w        \ 

Sharp.      Double        Flat.        Double      Natural. 
Sharp.  Flat. 


Crescendo.     Decrescendo. 


< 
< 

< 

Arpeggio. 

After  Ped. 
means   raise 
the  foot  from 
the  pedal. 


/r^^-. 


>-     A 
Sforzando. 


Brace.      Trill.  Turn.    Mordent. 

'iva.      %va.Ba.  0     v 

Octave      Octave        Heel  and  Toe: 

higher.       lower.       Organ  music, — 

when  above  the 

notes,  ris;ht  foot; 

when  below,  left 

foot. 

Signature,   Signatur   (Ger.),   Time.      The 

signs  ^     ^,  etc.      Key  Signature,  the 

sharps  or  flats  marked  at  the  beginning  of  a 
part  or  piece. 

Simile  (It.)  [see-viee-leJi).  The  same;  in  the 
same  way. 

Sinfonia  (It.\  Sinfonie  (Ger),  Symphonie 
(Fr.),  Symphony  [from  Qx.,sun;  phoneo, 
sounding  together].  Originally  had  the 
same  meaning  that  we  attach  to  interval, 
i.  e.,  two  simultaneous  sounds,  (i)  By  the 
early  writers  of  Italian  opera  it  was  used  in 
the  modern  sense  of  overture.  (2)  The 
introduction  to  a  song  is  still  called  the 
symphony.  (3)  The  adaptation  of  the 
large  forms  of  composition  (sonata  and 
rondo)  to  the  orchestra. 

Sherwood.  \Vm.  H.    Composer,  pianist ;   U. 

S.  A.     B.  1854. 
Silbermann,  Gottfried.      Pianoforte  maker; 

Germany.      B.  1683  ;   d.  1753. 

Silcher,  Fred.  Composer,  writer  ;  Germany. 
B.  1789;  d.  i860. 

Singer,  Otto.  Composer,  pianist ;  Germany. 
B.   1833;   d.  1894. 

Sivori,  E.  C.  [see' -vo-ree) .  Violinist,  com- 
poser;  Italy.      B.  1815;  d.  1S94. 


Singend  or  Singbar  (Ger.). 
tabile. 


Singing ;   can- 
It.)    [sin- gliee-otz-an'-do). 


Singhiozzando 
Sobbingly. 

Singspiel  (Ger.)  {sing-speel').  "Sing-play." 
Operetta ;  an  opera  without  recitatives,  the 
dialogue  being  spoken.  "  Der  Freischutz," 
when  first  produced  was  of  this  character, 
which  may  be  considered  as  one  of  Ger- 
many's contributions  to  the  development 
of  the  opera,  the  Italian  operas  from  the 
beginning  being  largely  composed  of  recita- 
tive. The  "Singspiel"  form  has  found  its 
most  congenial  home  and  its  best  exponents 
in  France. 

Sinistra  (It.).      Left. 

Sine,  Abbr.,  Sin.  (It.)  [see' -no).  As  far  as  ; 
used  after  D.  C.,  or  al  j^ ;  as  al  ^, 
Sin'  al  fine,  go  to  the  sign,  then  as  far  as 
"fine."  D.  C.  sin'  al  ^f!,  from  the 
beginning  as  far  as  the  sign. 

Sixteenth  Note.    > 

Sixth.     An  interval  including  six  letters. 

Sixth  Major.     Six  letters,  nine  halftones. 

Sixth  Minor.  .Six  letters,  eight  half-tones. 
Augmented  Sixth,  six  letters,  ten  half- 
tones. Diminished  Sixth,  six  letters, 
seven  half-tones. 

Sixty-fourth  Note.  ^ 

0 

Slancio  (It.)  {slan'-che-o),  con.  With  im- 
])etuosity. 

Slargando  (It.)  {slar-gan'-do).  Widening; 
growing  slower. 

Slargandosi  (It. )  {slar-gan-do' -see).    Slower. 

Slentando  (It.)  {slen-tan' -do).  Gradually 
slower. 

Slide.  (l)  The  movable  tube  of  the  trom- 
bone.     (2)   See  Portavietito. 

Slur.  ^-^  —--^  Legato  sign.  In  vocal  music 
signifies  that  all  the  notes  it  includes  are  to 
be  sung  to  one  syllable. 

Smanioso  (It.)  [snia-ne-o'-so).  Frantic; 
raging. 

Smaniante  (It.)  {sma-ne-an'-teh).  Frantic- 
ally. 

Sminuendo  (It.)  {smin-oo-eii'-do),  Sminuito 
{smin-oo-ee'-io),  Smorendo  [smo-re^i'-do). 
Same  as  Diminuendo. 

Sloper,  Lindsay  E.  H.  Composer,  pianist ; 
England.     B.  1826;  d.  1887. 

Smart,  Sir  G.  T.  Composer,  organist ;  Eng- 
land.    B.  1776;  d.  1867. 

Smart,  Henry  (brother  of  G.).  Violinist; 
England.      B.  1778;   d.  1823. 

Smart,  Henry  (son  of  H.).  Comiioser, 
organist;   England.     B.  1813  ;  d.  1879. 

Smetana,  Fr.  {smeh  tah'-nali').  Composer' 
Bohemia.     B.  1824  ;  d.  1884. 


SMORZANDO 


87 


SONATA  DI  CHIESA 


Smorzando    (It.)    [smor  -tzan'  -  Jo).       Lit., 

"  smothering  ;  "  morendo. 
Snare  Drum.    See  Drum. 
Soave  (It.)  {so-a'-veli).     Sweet. 
Soavemente    (It. )     {^so  -  a-  veli  -  men  '-  teh ) . 

Sweetly. 
Sogetto  (It.).     Subject ;  theme  of  a  fugue. 
Sognando  (It.)  {sone-yan'-do).     Dreaming; 

dreamily. 
Sol.     The    note    G    in    Italian,  French,   and 

Spanish  ;   fifth  Aretinian  syllable. 
Solenne  (It.)  (so-len' -neli).      Solemn. 
Solennemente     (It.)    {so-len-nek-men'-teh^. 

Solemnly. 
Solennita    (It.)    {so-len' -nee-ta),  con.     With 

solemnity. 
Sol-fa  (verb).     To  sing  with  the  syllables. 

Solfeggio  (It.)  [sol- fed-Jo).  (i)  A  vocal 
exercise.  (2)  Used  by  Bach  as  a  name  for 
certain  short  instrumental  pieces. 

Solmization.  A  method  of  learning  to  sing 
by  the  application  of  syllables  to  the  scale. 
The  earliest  invention  of  this  method  of 
fixing  the  succession  of  sounds  forming  the 
scale  in  the  memory  is  attributed  to  Guido 
of  Arezzo  {ah-rets-o),  who  used  for  this 
purpose  the  syllables  ut,  re,  mi,  fa,  sol,  la, 
having  chanced  to  observe  that  these  syl- 
lables—the first  in  the  successive  lines  of  a 
Latin  hymn  —  were  sung  to  six  successive 
notes  which  formed  a  hexachord  scale :  C, 
D,  E,  F,  G,  A.  There  were  seven  hexa- 
chord scales,  as  follows :  First  began  on  G, 
1st  line  bass  staff;  this  was  called  the  hexa- 
chordum  durum  (hard  hexachord).  Second 
began  on  C,  a  4tli  higher.  Third  began  on 
F,  another  4th  higher ;  in  this  scale  B  was 
flat ;  it  was  called  the  hexachordum  molle 
(soft  hexachord).  Fourth,  fifth,  and  sixth 
were  respectively  an  octave  higher  than  the 
first,  second,  and  third,  and  the  seventh 
was  two  octaves  higher  than  the  first.  The 
first  note  of  every  scale  was  called  ut  (after- 
ward changed  to  do),  therefore  from  its 
inception  "  do  "  was  ''movable."  Various 
modifications  of  these  syllables  have  at 
different  times  been  used  for  solmization. 
One  extensively  used  at  one  time  was  the 
practice  of  using  only  four  of  them,  viz., 
mi,  fa,  sol,  la.  These  were  so  arranged 
that  mi  always  fell  upon  the  third  note  in 
the  tetrachord,  for  example,  the  scale  of  C 
was  solfaed  thus  :  — 

Tetrachord.     Tetrachord. 


CDEF|GABC 

sol  la  mi  fa  sol  la  mi  fa 

It    was    owing    to    the    difficulty    and,    to 
ancient  ears,  harshness  of  the  skip  from  the 

Smith,    Sidney.      Composer,    pianist ;     Eng- 
land.     B.  1839  ;  d.  1889. 


fa  of  the  lower  tetrachord  to  the  mi  of  the 
upper  that  the  expression,  '-mi  contra  fa," 
came  to  have  a  proverbial  meaning.  This 
interval,  called  the  tritone  (three  tones), 
was  by  the  ancient  theorists  stigmatized  as 
"  tritonus  diabolus  est."  New  syllables 
have  at  different  times  been  proposed  ;  one 
scheme  of  which  the  syllables  were  bo,  ce, 
di,  ga,  lo,  ma,  ni,  was  called  bocedization ; 
another  with  da,  me,  ni,  po,  hi,  la,  be,  was 
called  damenization.  The  only  modifica- 
tions and  additions  to  the  syllables  that  have 
been  permanently  adopted  are  those  used  by 
the  "  Tonic  Solfaists,"  q.  v. 

Solo  (It.)  (plural.  Soli).  Alone;  a  compo- 
sition in  whicli  the  principal  part  is  taken 
by  one  voice  or  instrument.  Solo  Parts 
are  those  sung  or  played  by  single  per- 
formers as  distinguished  from  chorus  or 
tutti  passages. 

Somma  (It.).  Utmost;  as  Con  somma 
espressione,  with  the  utmost  expression. 

Sonabile  (It.)  [so-nah'-bee-hh),  Sonante 
{so-  nan'  -  teh  ).  Resonant ;  sounding  ; 
sonorous. 

Sonare  (It.)  (so-nah'-reh).  To  sound;  to 
play  upon. 

Sonata  (It.)  [so-nah'-tah).  "Sound  piece." 
(I)  The  highest  development  of  musical 
form.  (2)  In  modern  use,  an  extended 
composition  with  several  movements  for 
pianoforte,  or  pianoforte  in  conjunction  with 
one  other  instrument.  A  composition  of 
this  class  for  more  than  two  instruments  is 
called  trio,  quartet,  etc. ;  for  full  orchestra, 
a  symphony.  The  "form"  of  the  sonata 
(see  Form)  has  undergone  many  modifica- 
tions since  it  was  first  adopted,  about  the 
beginning  of  the  17th  century.  At  first  it 
was  applied  indifferently  to  any  instrumental 
piece,  such,  for  example,  as  were  commonly 
called  "  airs."  Those  written  for  the  harp- 
sichord or  for  viols  were  called  "  sonata  da 
camera. ' '  Those  for  the  organ  (or  frequently 
those  for  harpsichord  or  viols,  if  written  in 
grave  style),  "sonata  da  chiesa "  (church 
sonata).  The  distinguishing  characteristic  of 
the  modern  sonata  form  is  the  possession  of 
two  themes  in  different  keys  (see  Scheme  in 
article  Form).  The  gradual  growth  of  this 
binary  development  may  be  traced  in  the 
works  of  Kuhnau,  Scarlatti,  Alberti, 
Durante,  and  others.  The  binary  form  was 
first  definitely  settled  by  Ph.  E.  Bach.  The 
only  changes  made  since  have  been  the 
immense  development  given  to  the  form  by 
Beethoven,  and  the  adoption  of  other  keys 
for  the  second  theme. 

Sonata  di  chiesa  (It.)  {key - eh'-sa).  A 
church  sonata  ;   organ  sonata. 

Sodermann,  J.  A.  {sood'-er-man).  Com- 
poser;  Sweden.     B.  1 83 2;  d.  1876. 


SONATILLA 


88 


SPANISCHES  KREUZ 


Sonatina  (It.)  {so-na-til'-la).  Sonatina  (It.) 
(so-na-tee' -na).  Sonatina  (Fr.)  {so-na-teen). 
A  short,  easy,  undeveloped  sonata. 

Song,  Gesang,  Lied  (Ger. ),  Chant  (Fr.), 
Canto  (It.),  (i)  Originally  a  poem.  (2) 
A  musical  setting  of  a  poem,  especially  for 
one  voice.  (3)  Folk-song  (Ger. ,  1\ilkslied). 
A  simple  air  containing  but  one  member,  the 
words  lyrical  or  narrative  (if  the  poem  is  a 
lengthy  narrative  it  is  generally  called  a 
ballad).  (4)  Art  songs  contain  several 
members,  and  in  many  cases,  as  in  the 
songs  of  Schubert,  F"ranz,  Schumann,  and 
others,  rise  to  the  highest  plane  of  art 
expression.  The  Germans  have  a  word, 
durchkoinponiert,  which  is  applied  to  songs 
every  stanza  of  which  has  a  separate  musical 
setting,  so  designed  as  to  exalt  and  empha- 
size the  expression  of  the  words. 

Songs  without  words,  Lieder  ohne 
Worte  (Ger),  Chants  sans  paroles 
(Fr.).  A  title  invented  by  Mendelssohn 
and  given  by  him  to  a  set  of  pianoforte 
compositions.  Songs  for  several  voices  are 
called  part  songs,  q.  v. 

Sonoramente  (It.).     Sonorously. 

Sonore  (It.),  Sonoro  [from  Lat. ,  sonus, 
sound].      Sonorous ;   sounding. 

Sonorita  (It.)   {so  -  no' ■  ire-ta) ,   con.     With 

resonance. 
Sopra  (It.).     On;   above;  upon. 

Soprano  (It.),  Sopran  (Ger.),  Dessus 
(Fr. )  [des-soo).  The  female  or  boy's  voice 
of  the  highest  range. 

Soprano  Clef.     C  clef  on  the  1st  line. 

Soprano  Sfogato  {sfo  -  gah'-td).  An  un- 
usually high  light  soprano. 

Sordamente  (It.).  Veiled,  dampened,  muf- 
fled tone. 

Sordino  (It.)  [sor-dee'-no).  A  mute;  small 
instruments  of  metal,  wood,  etc.,  put  on  the 
bridge  of  the  violin,  etc.,  to  deaden  the 
tone.  Pear-  or  cylinder-shaped  mutes  of 
wood,  cardboard,  or  leather  are  put  in  the 
bell  of  the  horn  or  trumpet  with  the  same 
object.  The  use  of  sordino  is  indicated  by 
Con  S,,  their  removal  by  Senza  S. 

Sordo  (It.).  Mute;  muffled.  Clarinetto 
sordo,  muted  clarionet. 

Sortita  (It.)  {soy-tee' -ta).  "Going  out." 
Concluding  voluntary  ;  first  appearance  of 
any  character  in  an  operatic  performance. 

Sospirando  (It.)  {sos-pee-ran'-do'),  Sospiroso 
{sos -pee-ro'- so),  Sospirante  {sos-pee-ran' - 
tell),  Sospirevole  {sos -pee  -  reh' -vo-leh) 
[from  .V(:v/?;y>,  a  sigh].  Sighing;  sobbing; 
mournful. 

Sonnleithner,  Ch.  {son'-light-ner').  Com- 
poser; Austria.      B.  1734;   d.  1786. 


Sostenuto  (It.)  {sos-teh-noo'-to),  Sostenendo 
{sos  -  teh  -  nen'-  do  ) .  Sustained  ;  without 
haste. 

Sotto  (It.).  Below.  Sotto  voce,  in  an 
undertone. 

Soubasse  (Fr.)  {soo-bass').  A  32-foot  organ 
pedal-stop. 

Soubrette  (Fr.)  {soo-hret).  A  waiiingmaid; 
a  minor  female  role  in  comic  or  comedy 
opera. 

Sound-board.  A  thin  sheet  of  spruce-pine, 
or  fir,  upon  which  the  bridge  that  supports 
the  strings  of  the  pianoforte  rests.  The 
function  of  the  sound- board  is  to  increase 
the  volume  of  the  tone,  which  it  does  by 
taking  up  the  vibration  of  the  string. 
There  are  many  unsolved  problems  in  the 
relation  which  subsists  between  the  string 
and  the  soundboard,  as  to  the  manner  in 
which  this  amplification  of  the  sound  takes 
place.  It  is  impossible  to  form  a  concep- 
tion of  the  complications  in  the  mode  of 
vibration  of  the  sound-board  that  must  take 
place  when,  for  example,  a  full  chord  is 
struck.  Yet  all  these  complications  are  not 
only  simultaneous,  but  they  obey  the  chang- 
ing conditions  of  the  most  rapid  execution 
with  such  swiftness  and  certainty  that  not  a 
note  is  lost  or  a  tone  quality  obscured. 

Sound-box.  The  body  of  the  violin,  guitar, 
etc.  The  problems  as  to  the  function  of  the 
sound-box  are  even  more  complicated  than 
those  connected  with  the  soundboard,  as  a 
sound-box  is  a  combination  of  a  sound- 
board and  an  enclosed  mass  of  air  the 
vibrations  of  which  have  an  important  bear- 
ing on  the  quality  and  intensity  of  the  tone. 

Sound-hole.  The  orifice  or  orifices  in  the 
upper  part,  called  technically  the  "  belly," 
of  the  violin,  guitar,  etc.  In  the  violin 
family  they  are  called  F-holes,  from  their 
resemblance  to  the  letter  f. 

Sound-post.  A  slender,  cylindiical,  wooden 
prop  between  the  belly  and  the  back  in 
instruments  of  the  violin  family,  placed 
under  the  foot  of  the  bridge  on  the  side  of 
the  highest  string. 

Sourdine  (Fr. )  {soor-deen).     .See  Sordino. 

Spaces.      The  intervals  between  the  lines  of 

the  staff  or  between  the  leger  lines. 
Spalla  (It.).      The  shoulder.      Used  in   the 

sentence,  Viola  da  spalla,  one  of  the  viols 

in  a  "  chest." 
Spanischer  Reiter  (Ger.).     See  Spanisc/ies 

A'reuz. 
Spanisches    Kreuz    (Ger.)    {  spa/i  -  nish  -  es 

kroits).     Spanish  cross ;   German   name  for 

double  sharp  ^  . 

Sontag,  Henrietta  G.  W.  Soprano;  Ger- 
many.     Jl  1806;  d.  1854. 


SPARTA 


89 


STIMMUNGSBILD 


Sparta  (It.)  [spar-ta),  Spartita  {spar' -ti-ta) 
[from  spartire,  to  divide].     Hence,  a  score. 

Spasshaft  (Gar.).  Jocose;  merry;  scher- 
zando. 

Spezzato  (It.)  [spets-sa' -to)  [from  spezzare, io 
break  in  pieces] .     Divided  ;  broken. 

Spianato  (It.)  {spe-a-nah' -  to).  Leveled; 
tranquillo. 

Spianto  (It. )  (spe-an-to).     Level;  smooth. 

Spiccato    (It.)    {spik-kah'-td).      Detached; 

pointed. 
Spiel  (Ger.)  {speel).     Play. 
Spielart.     Style ;  touch. 

Spielbar.       Playable ;     well  adapted   to  the 

instrument. 
Spieloper.     Operetta  ;  comic  opera. 
Spieltenor.    Light  tenor ;  comic  opera  tenor. 

Spinet.  The  predecessor  of  the  harpsichord, 
called  also  couched  harp. 

Spirito  (It.)  [spee-ree-to),  con,  Spiritoso 
{spee-ree-to'-so),  Spiritosamente  (spee-ree- 
to-sa-men'-teh).  With  spirit;  spirited; 
lively ;   animated. 

Spitzfliote,  Spindelflote  (Ger.).  An  organ- 
stop  of  reed-like  quality,  8-,  4-,  or  2-foot 
pitch. 

Squilla  (It.)  {squil'-la).     Little  bell. 

Squillante  (It.)  {squil-lan'-teJi).  Bell-like 
ringing. 

Stabile  (It.)  (J/rt/^-<5i'<f''-/f/^).     Firm;  steady. 

Stac.     Abbreviation  of  Staccato. 

Staccatissimo  (It.)  {stac-cah-tis' -see-md).  As 
detached  as  possible.  The  sign  for  stacca- 
tissimo is  a  pointed  dot  over  the  note      f 

^\.3s:.<:.^X.o  {\\..)  {stac-cah' -to).  Detached;  cut 
oft" ;    separated. 

Spagnoletti,  P.  {span-yo-let'-tee).  'Cellist; 
Italy.     B.  1768;  d.  1834. 

Speidel,  Wil.  Composer,  pianist ;  Germany. 
B.  1826;  d.  1899. 

Spindler,  Fritz.  Composer,  pianist ;  Ger- 
many.     B.   1817;  d.  1905. 

Spofforth,  R.  Composer;  England.  B. 
1768;   d.  1827. 

Spohr,  Louis.  Violinist,  composer;  Ger- 
many.    B.  1784;  d.  1859. 

Stainer,  Sir  John.  Composer,  organist; 
England.      B.  1840;   d.   1901. 

Stanford,  Ch.  Villiers.  Composer,  organist ; 
England.      B.  1852. 

Staudigl,  Jos.  {stoiv'-digl).  Basso;  Ger- 
many.     B.  1807  ;   d.  1861. 


Staff  or  Stave.  The  five  lines  with  their 
enclosed  spaces.  Gregorian  music  is  writ- 
ten on  a  staff  of  four  lines. 

Standard  Pitch.     See  Pitch. 

Standchen  (Ger.).      See  Serenade. 

Stark  (Ger.).     Loud;  strong. 

Stave.     See  Staff. 

Stem,  Hals  (Ger.),  Queue  (Fr.),  Gambo 
(It.).  The  part  of  a  note  consisting  of  a 
vertical  line  ;  also  called  tail. 

Stentato  (It.)  {sten-tah' -to),  Stentando  {sten- 
tan' -do)  [from  stentare,  to  labor].  A  heavy 
emphasis  combined  with  a  dragging  of  the 
time. 

Step.  From  one  letter  to  the  next ;  a  degree. 
Whole  Step,  a  whole  tone ;  Half  Step, 
half  tone;  Chromatic  Step,  chromatic 
half  tone. 

Sterbend  (Ger.)  \  stair  -  bent).  Dying; 
morendo. 

Steso  (It.)  {stay-so').  Extended.  Steso 
moto,  slow  movement. 

Stesso  (It.)  {stes-sd).     The  same. 

Sticcado  (It.).     Xylophone. 

Stil  (Ger.)  {steel),  Stilo  (It.).  Style;  man- 
ner. 

Stillgedacht  (Ger.).  Soft  organ-stop  with 
closed  pipes;  stopped  diapason. 

Stimmbildung.  Voice  formation ;  voice 
training. 

Stimme(Ger)  {stim'-meh).  (i)  Voice.  (2) 
Part.     (3)  Sound-post.     (4)  Organ-stop. 

Stimmen  (verb).     To  tune. 

Stimmung.     Pitch,  tuning. 

Stimmungsbild.  "Voicing  picture,"  i.  e.,  a 
short  composition  designed  to  "voice"  or 
express  some  given  mood  or  emotion,  e.g., 
"  Warum,"  by  Schumann. 

Staudigl,  Jos.  {stow-digl)  (son  of  J.).  Bari- 
tone.    B.  1850. 

Stavenhagen,  B.    Pianist ;  Reuss.    B.  1862, 

Steffani,  A.  {stef-  fah'  -  nee).  Composer; 
Italy.      B.  1655;  d.  1730. 

Steggall,  Ch.  Composer,  organist ;  England. 
B. iS?6;  d.  1905. 

Stephens,  Catherine.  Soprano;  England. 
B.  1791  ;  d.  1882. 

Steibelt,  Dan.  Composer,  pianist ;  Germany. 
B.  1764  ;  d.  1823. 

Sterkel,  J.  F.  X  Composer;  Germany.  B. 
1750;  "d.  1817, 

Sterling,  Antoinette.      Alto ;    U.  S.  A.      B. 

1850;  d.  1904. 
Sternberg,  C.      Composer,  pianist ;    Russia. 

B.  1852. 


STINGUENDO 


90 


SUAVEMENTE 


Stinguendo  (It.)  {stiti-gwen' -do)  [from  stin- 
giiere,  to  extinguish].  Fading  away; 
becoming  extinguished. 

Stirato  (It.)  {stee-rah'-to),  Stiracchiato 
{^stee  -  rak  -  ke  -  ah'  -  to)  [from  stir  are,  to 
stretch].      Retarding  the  time. 

Stop.  (l)  To  press  the  finger  on  the  string 
of  violin,  guitar,  etc.  Double  Stop,  press- 
ing two  strings  at  once.  (2)  (noun)  A  rank 
or  set  of  organ-pipes.  Draw  Stop,  the 
arrangement  of  levers  by  means  of  which 
the  "  wind  "  is  admitted  to  the  various  ranks 
of  pipes  at  will,  called  also  register. 
Foundation  Stop,  one  of  8-foot  pitch. 
Mutation  Stop,  one  sounding  the  major 
third  or  perfect  fifth,  or  both,  over  the 
fundamental.  Solo  Stop,  one  with  a  tone 
quality  suited  to  the  rendition  of  melody. 

Stracino  (It.)  {strah-chee'-no),  Stracicato 
{strah-rhee-cah'-  to),  Stracicando  [strah- 
chee-can'-  do),  Stracinando  [strah-  chee- 
nati'-do).  A  drag,  or  slur;  sliding  from 
one  note  to  another  and  at  the  same  time 
slightly  slackening  the  time. 

Strain.     Song,  air,  tune,  or  a  part  of  one. 

Strathspey.     A  Scotch  dance  in  \  time. 

Stravagante  (It.)  {strah-vah-gan' -te).  Ex- 
travagant ;  fantastic. 

Stravaganza  (It.)  {strak-vah-gant'-sah).  A 
fantastic  composition. 

Streng  (Ger.).     Rigid;  severe. 

Strepito  (It.)  {streh'- pee-to),  con.  With 
noise ;   fury. 

Strepitosamente  (It.)  [streh-pee-to-sah-men' - 
teh).     Furiously. 

Strepitoso  (It.)   {streh -pee-to' -so).      Furious. 

Stretta,  Stretto  (It.).  "  A  throng."  (i) 
Hurrying  the  time  at  the  close.  (2)  In 
fugue,  causing  the  voices  to  follow  one 
another  at  less  distance  so  that  the  subject 
and  answer  are  brought  closer  together. 

Stridente  (It.)  {stree-den'-teh).  Strident; 
noisy ;   impetuous. 

String.      Abbreviation  for  Strlngendo. 

Stigelli,  G.  [stee-JeF-lee).  Composer,  tenor; 
Germany.      B.  1819;  d.  1868. 

Stockhausen,  M.  Soprano ;  Germany.  B. 
1803;  d.  1877. 

Stradella,  A.  Composer;  Italy.  B.  1645  ; 
d.  1681. 

Stradivari,  A.  [sfrah-dee-vah-ree).  Violin 
maker;   Italy.      B.  1644;   d.  1737. 

Stradivari,  F.  Violin  maker;  Italy.  B. 
1670;  d.  1743. 

Stradivari,   O.      Violin    maker;    Italy.     B. 
.    1679;  d.  1742. 

Strakosch,  Maurice.  Pianist ;  Germany.  B. 
1825  ;    d.   1887. 


String.  Cords  made  of  wire,  catgut,  or 
silk,  used  for  musical  instruments. 

String  Band.  The  violins,  violas,  violon- 
cellos, and  double  bass,  also  spoken  of 
collectively  as  the  "strings"  or  the  string 
quartet. 

String  Instruments.  Those  in  which  the 
tone  is  produced  by  the  vibration  of  strings. 
They  are  classified  as  follows :  1st,  strings 
plucked  by  the  fingers — harp,  guitar,  etc.; 
2d,  strings  struck  by  plectra  —  mandolin, 
zither,  etc.;  3d,  strings  vibrated  by  means 
of  a  bow — violin,  etc. ;  4th,  strings  struck 
with  hammers — pianoforte,  dulcimer,  etc. 

String  Quartet.  A  composition  for  two 
violins,  viola,  and  violoncello. 

String  Quintet,  Sextet,  Septet,  Octet  are 

formed  by  combining  the  string  instruments 
in  various  proportions. 

Stringendo  (It.)  {striii-jen'-do).  Hurrying 
the  time. 

Strisciando  (It.)  (strish-e-an' -do).  Creeping; 
gliding. 

Stromentato  (It. ).  Instrumented;  scored; 
orchestrated. 

Stromento  (It.)  [stro-men'-to).     Instrument. 

Stromento  di  corda.     String  instrument. 

Stromento  di  fiato  or  di  vento.  Wind 
instrument. 

Stiick  (Ger.)  [stick).  A  piece.  Concert- 
stuck,  concert  piece.  Salonstiick,  parlor 
piece. 

Study,  Etude  (Fr.),  Studio  (It.),  (i)  A 
composition  designed  to  facilitate  the  ac- 
quirement of  some  special  difficulty.  (2) 
A  name  often  given  by  modern  writers  to 
pieces  analogous  to  the  old  toccata,  q.  v. 

Stufe  (Ger.)  (stoo'-feh).  A  step;  degree  of 
the  scale. 

Stiirmisch  (Ger.).     Stormy  ;  furioso 

Suave  (It.)  {soo-a'-veh).     Sweet. 

Suavemente  (It.)  {soo  -  a  -  veh  -  men' -  teh). 
Sweetly. 

Strauss,  Ed.  (son  of  following).  Composer; 
Austria.     B.  1835. 

Strauss,  John  (father  of  following).  Com- 
poser;  Austria.      B.  1804;  d.  1849. 

Strauss,  John  (brother  of  following).  Com- 
poser;   Austria.      B.  1825  ;  d.  1899. 

Strauss,  Jos.  Composer;  Austria.  B.  1827; 
d.  1870. 

Strauss,  Ludwig.  Violinist;  Austria.  B. 
1835- 

Streabog.    Pseudonym  of  J.  L.  Gobbaerts. 

Strelezki,  A.  Pianist,  composer.;  pseudonym 
of  an  English  writer.      B.    1859;   d.  1907 


SUAVITA 


91 


SYRINX 


Suavita    (It.)    [soo-ah'-vee-ta),  con.      With 

sweetness. 
Sub-bass.      An  organ  pedal-stop  of  l6-  or 

32-foot  tone. 

Sub-dominant.  The  4th  degree  of  the 
scale  ;  not  called  sub-dominant  because  it  is 
below  the  dominant,  but  because  it  is  tlie 
same  distance  below  the  tonic  tliat 
dominant  is  above. 

Sub-mediant.     The  6th  of  the  scale. 

1  2  3 


the 


P 


-G^- 


-/5>- 


-19- 

4 
Mediant,  i.  e.. 


-<9- 
o 

I.  Tonic.  2.  Mediant,  i.  e.,  half-way  to 
dominant.  3.  Dominant.  4.  Sub-mediant, 
i.  e.,  half-way  to  sub-dominant.  5.  Sub- 
dominant. 


Sub-octave.  A  coupler  on  the  organ  that 
pulls  down  the  keys  an  octave  below  those 
struck. 

Sub-principal.  Open  organ-stop,  32-  and 
l6-foot  pitch. 

Sub-tonic.      The  leading  note,   7th  of  the 

scale. 
Subito    (It.)     [soo-  bee'-  to),    Subitamente. 

Quickly.     Volti  subito,  abbreviated  V.  S., 

turn  over  quickly. 

Subject.  The  theme  of  a  fugue  ;  any  one  of 
the  themes  of  a  sonata,  rondo,  etc. 

Subordinate  Chords.  Those  on  the  2d,  3d, 
and  6th  of  the  scale. 

Suite  (Fr.)  [siveet).  A  set  or  series  of  move- 
ments. The  suite  originally  consisted  solely 
of  dance  tunes  to  which  "airs"  or  move- 
ments, designated  by  the  tempo  terms, 
allegro,  etc.,  were  added.  The  classical 
suite  contained :  1st,  allemand ;  2d,  coranto  ; 
3d,  saraband  ;  4th,  gigue,  preceded  by  a 
prelude.  Occasionally  the  gavotte,  pavan, 
loure,  minuet,  etc. ,  may  be  found  with  or  in 
place  of  some  of  the  above  dances.  Ac- 
cording to  the  rule  of  the  suite,  all  the 
movements  had  to  be  in  the  same  key. 

Suivez  (Fr. )  {szuee-vey).  Follow;  a  direc- 
tion for  the  accompanist  to  follow  the 
soloist. 

Sujet  (Fr.)  [soo-zhay).     Subject. 


Sullivan,   Sir  A.  S. 

B.  1842;  d.  1900. 
Suppe,    F.    von    (soop'-peh) 

Austria.      B.  1820;   d.  1895. 

Sussmayer,  F.  X.     Composer;  Austria, 
1766  ;   d.  1803. 


Composer;    England. 

Composer ; 

B. 


Sul,  Sull,  Sulla  (It.).  Upon;  on;  by  ;  in 
violin  music  a  passage  to  be  played  on  a 
certain  string  is  marked  Sul  E,  or  A,  or  D, 
or  G,  as  the  case  may  be. 

Sul  ponticello  (It.).  By  the  bridge;  in 
violin  playing,  a  direction  to  play  with  the 
bow  close  to  the  bridge. 

Suonata.     See  Sonata. 

Superfluous.     Same  as  Augmented. 

Super-octave,  (i)  An  organ-stop  of  2  foot 
pitch,  same  as  fifteenth.  (2)  A  coupler  in 
the  organ  that  pulls  down  the  keys  one 
octave  above  those  struck. 

Super-tonic.     The  2d  degree  of  the  scale. 

Super-dominant.  The  6th  degree  of  the 
scale. 

Supplichevole  (It.)  [siip-plee-kay'-vo-leh), 
Supplichevolmente  (sup  -  plee  -  kay  -  vol- 
meji'-teh).      Pleading;  supplicating. 

Suspension.  Tyiilg  or  prolonging  a  note 
from  one  chord  into  the  following.  See 
Retardation. 

Siiss  (Ger.)  [sees).     Sweet. 

Sussurando  (It.)  [soos-soo-ran'-do).  Mur- 
muring. 

Sussurante  (  It.  )  ( soos  -  soo  -  ran'  -  teh  ). 
Whisperingly. 

SvtgMsito  {\i.)  [svehl-ya'-to).     Brisk;   lively. 

Svelto(It. )  [sveF-fo).       Swift;  quick;   easy. 

Swell  Organ.  A  part  of  the  organ  enclosed 
within  a  box  provided  with  shutters,  which 
are  opened  and  closed  by  a  lever,  called  the 
swell-pedal,  worked  by  the  foot. 

Symphony.     See  Sinfonia. 

Symphonic.     In  the  manner  of  a  symphony. 

Symphonic  Ode.  A  combination  of  sym- 
phony and  chorus,  as  Beethoven's  Ninth 
Symphony,  or  Mendelssohn's  Lobgesang. 

Symphonic  Poem.  A  modern  name  for  an 
orchestral  composition  supposed  to  illustrate 
a  poem  or  story. 

Syncopation.       A    shifting   of    the    accent, 

caused  by  tying  a  weak  beat  to   a  strong 

beat. 
Syren.       (i)    An    acoustical    apparatus    for 

determining  the  vibrational  rates  of  sounds. 

(2)   A  species  of  foghorn. 

Syrinx.     See  Pandeatt  Pipe. 

Svendsen,  J.  S.  Composer,  violinist,  con- 
ductor;   Sweden.      B.  1840. 

Svendsen,  Oluf  Flutist;  Sweden.  B. 
1832  ;  d.  1888. 

Sweelenck  [sveh'-link).  Composer,  organist ; 
Holland.     B.  1562;  d.  1621. 


92 


TASTATUR 


T.  Abbreviation  of  Tasto,  Tenor,  Tempo, 
Tutti,  Toe  (in  organ  music). 

Taballo  (It.).     Kettle-drum. 

Tablature  (Fr.)  {tab-lah-toor),  Intavolatura 
(It. ),  Tablatur  (Gen).  An  obsolete  system 
of  notation  used  for  the  lute  principally ; 
another  form  was  used  for  the  organ,  harp- 
sichord, etc. 

Table  (Fr.)  [tahbl).  The  belly  or  sound- 
board. 

Table  Music.  (l)  Music  intended  to  be 
sung  by  several  people  sitting  around  a 
table.  (2)  Music  appropriate  for  entertain- 
ment during  the  pauses  in  the  "serious" 
work  of  eating  and  drinking. 

Tabor,  Tabret,  Taboret.  A  small  drum, 
like  a  tambourine  without  the  "jingles." 
It  hung  in  front  of  the  performer,  who  beat 
it  with  one  hand  and  played  a  "pipe  "  or 
flageolet  with  the  other. 

Tacet  (Lat),  Tace  (It.)  {tah'-cheh).  Be 
silent,  or  "is  silent;"  signifies  that  the 
instrument  thus  marked  is  silent  during  the 
phrase  or  movement;  as  Andante  trom- 
boni  tacet,  during  the  "andante"  the 
trombones  are  silent. 

Tafelclavier  (Ger.).     Square  pianoforte. 

Tafelmusik.     Table  music. 

Tail,  (i)  Stem  of  a  note.  (2)  The  piece 
of  wood  to  which  the  strings  of  the  violin, 
etc.,  are  attached  at  the  base  of  the  instru- 
ment. 

Taille  (Fr.)  [tah-ee).  The  tenor  voice  or 
part. 

Takt  (Ger.).  Time,  as  Im  Takt,  a  tempo ; 
measure,  as  Ein  Takt,  one  measure  (or 
bar)  ;  beat,  as  Auftakt,  up  beat. 

Taktmassig.     In  time. 

Taktstrich.      A  bar  (line,  not  measure). 

Talon   (Fr.).      The  "frog"   or  heel  of  the 

bow. 

Tambour  (Fr.).  (i)  A  drum.  (2)  A  drum- 
mer. 

Tambour  de  basque.     Tambourine. 

Tamboura,  Tambura  (also  Pandora).  An 
Eastern  species  of  the  lute. 

Tambourin  (Fr.)  {tnvi-boo-rang) .  (l)  A 
tabor.      (2)   A  French  rustic  dance. 

Tadolini,  G.  {tah-do-!ei'' -72ee).  Composer  ; 
Italy.     B.  1793  ;   d.  1872. 

Talexy,  A.  Uah'-lex-ee').  Composer,  pianist ; 
France.     B.  1820;   d.  1881. 


Tamberlik,     Enrico. 
1820;  d.  18S9. 


Tenor;     Italy.       B. 


Tambourine.  A  small  variety  of  drum  con- 
sisting of  a  hoop  of  wood  or  metal  about 
two  inches  in  depth,  with  a  head  of  parch- 
ment. Small  circular  plates  of  metal  called 
jingles  are  inserted  in  pairs  in  holes  in  the 
hoop,  strung  loosely  on  wires.  The  tam- 
bourine is  held  in  the  left  hand  and  struck 
with  the  fingers  or  palm  of  the  right  hand ; 
used  to  accompany  dancing  in  Spain,  Italy, 
and  southern  I*rance  ;  occasionally  used  in 
the  orchestra  in  ballet  music.      The  "  roll  ' 

P  III 

The  "jingle"    f 


is  indicated  thus    > 


Tamburo  (It.).      Drum;   side  drum. 
Tamburone    (It.)    {tani-boo-ro'-neJi).       The 

great  drum. 
Tam-tam.     Gong. 
Tandelnd  (Ger.)  {tehn-delnd).     Playful. 

Tangent.  The  brass  pin  in  the  action  of  the 
clavichord  that  was  forced  against  the  string 
when  the  key  was  struck. 

Tantino  [Ian-tee- >io),  very  little. 

Tanto  (It.).  So  much;  too  much.  Allegro 
non  tanto,  not  so  fast;  lit.,  "  fast,  not  too 
much." 

Tanz  (Ger.)  [taiits).      Dance. 

Tanzlieder.     Songs  to  accompany  dancing. 

See  Ballad. 
Tanzstiicke.     Dancing  pieces. 
Tanzweisen.     Dancing  tunes. 

Tarantella  (It.),  Tarantelle  (Fr.).  A  rapid 
dance  in  ^  time  ;  the  name  is  derived  from 
tarantula  (the  poisonous  spider).  The 
dance  is  popularly  believed  to  be  a  remedy 
for  the  bite  of  this  insect. 

Tardamente.  (It.)  [tar-  dak -men'-  teh). 
Slowly. 

Tardando    (It.)     [tar-dan'-  do).       Slowing; 

retarding. 
Tardato  (It.)  [tar-dah' -to).     Made  slower. 
Tardo  (It.)  [tar' -do).     Slow;   dragging. 

Tartini  Tone.  An  undertone  produced  by 
the  simultaneous  vibration  of  two  strings, 
etc.,  first  observed  by  Tartini,  the  violinist. 
Called  also  a  differential  tone. 

Tastatur  (Ger.)  [tas-tah-toor).  Tastatura 
(It.)  [tas-tah-too'-ra).     Keyboard. 

Tamburini,  .\.  [lam-boo-ree'-7iee).  Baritone; 
Italy.      B.  1800;  d.  1876. 

Tansur,  Will.  Composer,  organist ;  Eng- 
land.     B.  1706.   d.  1783. 

Tartini,  G.    [tar-tee' -nee).      Violinist,   com-  - 
poser;   Italy.      B.  1692  ;  d.  1770. 


TASTE 


93 


TEMPO  MARCIA 


Taste  (Ger.)  iotas' -ieh).  A  pianoforte  or 
organ  key  ;   pedal  key. 

Tastenbrett  (Ger.),  Tastenleiter.  Key- 
board. 

Tastiera  (It.)  {tas-tee-eh'-ra').  Eingerboard 
of  violin,  guitar,  etc.  Sulla  Tastiera,  a 
direction  in  violin  music  to  play  with  the 
bow  near  the  fingerboard, — the  opposite  of 
Sul ponticello,  q.  v. 

Tasto  (It.)  A  "touch."  (i)  A  key.  (2) 
A  fret.  (3)  Touch.  (4)  Fingerboard. 
The  preceding  words  from  Tastalur  are  all 
derived  from  Tasto. 

Tasto  Solo.  Literally,  "key  alone,"  /.  ^., 
one  key  or  note  at  a  time.  A  direction  in 
figured  bass  that  the  notes  are  to  be  played 
without  chords,  /.  e.,  unison  or  octaves. 

Tattoo  or  Taptoo.  The  drumbeat  ordering 
soldiers  to  retire  for  the  niglit. 

Technic,  Technik  (Ger.),  Technique  (Fr.). 
The  purely  mechanical  part  of  playing  or 
singing. 

Technicon.  A  mechanism  for  strengthening 
the  fingers  and  increasing  their  flexibility. 

Techniphone.     See  Virgil  Clavier. 

Tedesco  or  Tedesca,  alia  (It.).    In  German 

style. 
Tema   (It.)    [teli'-mah).     Theme  ;    subject  ; 

melody. 

Temperament.  The  division  of  the  octave. 
Equal  Temperament.  The  modern  sys- 
tem of  tuning  divides  the  octave  into 
twelve  equal  parts,  called  semitones.  Un- 
equal Temperament  (which  was  formerly 
used  for  all  keyed  instruments,  and  retained 
until  quite  recently  for  the  organ)  tuned 
the  natural  notes  true,  and  distributed  the 
superfluous  interval  among  the  "black" 
keys.  The  discovery  of  the  art  of  equally 
tempering  the  scale  lies  at  the  foundation  of 
modern  music.  Without  it,  the  sudden  ex- 
cursions into  remote  keys  would  be  impos- 
sible. Although  we  have  lost  something  in 
purity  of  intonation,  the  loss  is  more  than 
made  up  in  the  gain  of  twelve  keys,  all 
equally  well  in  tune.  Some  enthusiasts, 
generally  acousticians,  express  great  dissat- 
isfaction with  our  modern  scale.  A  suffi- 
cient reply  is,  that  the  scale  that  satisfied 
the  ears  of,  and  made  possible  the  music  of 
the  great  writers  from  Bach  to  Beethoven, 
must  of  necessity  be  the  best  musical  scale. 

Tempestosamente  (It.)  {tem-pes-to' -sa-7nen' - 
tch).      Impetuously. 

Tempestoso  (It.)  {tem-pes-to'-sd).  Tempes- 
tuous. 

Tempete  (Fr.)  (tanipeht).  Tempest.  A 
French  dance — formerly  fashionable — re- 
sembling a  quadrille. 

Taubert,  Carl  G.  W.  Composer;  CJermany. 
B.  iSii :  d.  1891. 


Slow 


Tempo  (It.).     Time.     "Tempo"  is  univer- 
sally used  to  signify  "  rate  of  movement." 

Tempo  Indications — 

^^'■g^'  r  Andante, 

1    nto'  Moderate  \  Moderate, 

Adagio.  (Commodo. 

P^ast  I  ^•'^§'■0' 
^^^^\  Presto. 

Words  used  to  modify  the  above :  Poco,  a 
little.  Before  a  word  meaning  slinv,  signifies 
an  increase  of  speed,  as  poco  lento,  a  little 
slow;  before  a  word  meaning  fast,  it  signi- 
fies a  decrease  of  siieed,  as  poco  allegro,  a 
little  fast.  Pill,  more.  Before  a  word 
meaning  slow,  signifies  a  decrease  of  speed, 
as  pill  lento,  slower;  before  a  word  mean- 
ing fast,  it  signifies  an  increase  of  speed,  as 
pill  allegro,  faster.  Assai,  very.  After  a 
word  meaning  sloto,  decreases  the  s]>eed,  as 
adagio  assai,  very  slow  ;  after  a  word  mean- 
ing fast,  increases  the  speed,  as  allegro 
assai.  Molto,  much ;  has  the  same  meaning 
as  assai. 

The  Diminutive  Etto. 

„,        f  Larghetto,  a  little  faster  than  Largo. 
(  Adagietta,  a  little  faster  than 

[Adagio. 
Fast,     Allegretto,  a  little  slower  than 

[Allegro. 

The  Superlative  Issimo. 


{Larghissimo 
Lentissimo, 
Adagissimo, 


As  slow  as  possible. 

„    ,    r  Allegrissimo,  It-.  •.  , 

Fast  <  T>     ?•    •         '  >  r  ast  as  possible. 
(  rrestissnno,     J  ^ 

The  Diminutive  Ino. 
Slow,  Andantino,  faster  than  Andante. 
Andante  means  "  going  "  [from  andare,  to 
go],  therefore  Andantino  means  "going 
a  little."  A  large  number  of  words  are 
used  in  conjunction  with  the  tempo  indica- 
tions that  refer  more  to  the  manner  or  style 
of  the  performance  than  to  the  speed,  as 
Appassionata.with  passion;  Vivace,  with  life. 
The  majority  of  these  words  are  preceded 
by  con,  with  ;  as — 

Con  brio,    .  .  .  .  with  vigor,  "j    AftprworH<5 

Con  calore,  .  .  .  with  warmth,        !    ^'"^"^  ''"'^'^^ 
Con  fuoco,    .  .   .  with  fire,  | 

Con  moto,  etc.,  with  motion,  J 
Con  espressione  with  expression,  "I 
Con  dolcezza,  .  with  sweetness,  ( 
Con  dolore,  .  .  .  with  sadness,  1 
Con  tristezza,     .  with  sorrow,         J 

Tempo  commodo.  Convenient ;  easy  move- 
ment. 
Tempo  di  ballo.     Dance  time. 
Tempo  giusto.     Strict ;   exact  time. 
Tempo  marcia.     March  time. 

Tausig,  Carl.      Composer,  pianist ;    Poland. 
B.  1841  ;    d.  1S71. 


nieanmg 

fast. 

After  words 


meaning 
slow. 


TEMPO  ORDINARIO 


94 


TETRACHORD 


Tempo  ordinario.     Ordinary  ;   usual. 
Tempo  primo.      First  time,  used  after  a  ri- 

tard.   or  accel.   to  indicate  a  return  to   the 

original  time. 
Tempo  rubato.     See  Rubato. 

Tempo  wie  vorher  (Ger.).     Same  as  Tevipo 

pruiio. 

Temps  (Fr.)  {ta»i).  (l)  Time.  (2)  Beat. 
Temps  faible  or  leve.  Weak  beat;  up  beat. 
Temps  fort  or  frappe.     Strong  beat;  down 

beat. 
Tendrement  (Fr.)  (tondr-riiong).    Tenderly. 
Tenendo    il    canto    (It.).       Sustaining    the 

melody. 
Teneramente    (It.)    [teJi-neh-ra  -  vien'-tcli). 

Tenderly  ;  delicately. 
Tenerezza  (It.)  {teli-iieh-ret'-za),  con.    With 

tenderness,  delicacy. 

Tenero  (It.)  (/if//''-//^'/;-ro).  Tender:  delicate. 

Tenor,  Tenore  (It.),  Taille  or  Tenor  (Fr.). 
(i)  The  highest  natural  male  voice.  (2) 
In  the  old  system  of  music,  the  cantus  or 
plain  song.  (3)  A  common  name  for  the 
viola.  The  word  tenor  is  supposed  to  be 
derived  from  Lat.,  teiieo,  to  hold,  as  it  held 
the  melody. 

Tenor  Clef.     C  clef  on  4th  line. 

Tenor  Violin.     Viola. 

Tenore  buffo.     A  comic  tenor  singer. 

Tenore    di    grazia.      A    "smooth-singing" 

tenor  singer. 
Tenore  leggiero.     A  light  tenor  singer. 

Tenore  robusto.  A  vigorous,  strong  tenor 
singer. 

Tenorino  (It.)  (ten  -  o-ree'-no).  "Little 
tenor."      Falsetto  tenor. 

Tenorist.    A  tenor  singer;   also  viola  player. 

Tenoroon.  (l)  S^ee  Oboe  di  cacda.  (2)  Any 
organ-stop  of  8 -foot  tone  that  does  not  go 
below  middle  C. 

Tenuto  1  It.)  [tch-noo' -to).  Abbreviated  Ten. 
Hold ;   a  direction  to  sustain  the  notes  for 


their  full  value.      Sig 


„  f. 


Tepidita  (It.)  {teh-pee'-dee-ta),  con.  With 
indifference. 

Tepiditamente  (It.)  [feh-pee-dee-ta-i/ten'-teh'). 
Coldly ;  lukewarmly. 

Tercet.      [Yr.)  (tehr-say').     A  triplet. 

Ternary  Form.      Rondo  with  three  themes. 

Ternary  Measure.     Simple  triple  time. 

Tertian.  A  two-rank  stop,  sounding  the  ma- 
jor 3d  and  5th  in  the  third  octave  above 
the  fundamental. 

Telemann,  G.  P.  (peh'-  leh-man).  Com- 
poser, organist ;  Germany.  B.  1681  ;  d. 
1767. 


Terz  (Ger.)  {terts),  (It.)  Terza.     Third. 
Terzetto  (It.)  {tert-sef -to).     A  vocal  trio. 

Terzflote  (Ger.).  (i)  A  flute  sounding  a 
3d  above  the  written  notes.  (2)  An  organ 
stop  sounding  the  major  3d  in  third  octave. 

Tessitura    (It.)    (tes-see-tii'-rah).      Texture 
The  general  range  of  the  voice  included  in 
a  given  song,  etc. 

Testo  (It.)  {tehs'-to).  Text.  (i)  The 
"  words"  of  any  vocal  composition.  (2) 
The  theme  or  subject. 

Tetrachord  [from  Gr.,  tetra,  chflrdo)i\  Four 
strings  ;  hence,  a  succession  of  four  sounds. 
The  tetrachord  always  consists  of  two  whole 
tones  and  one  half-tone.  These  intervals 
may  be  arranged  in  three  ways.  The  oldest 
arrangement,  called  the  Pythagorean  tetra- 
chord, began  with  the  half-tone,  thus  :  — 


9fc 


1221 


It  is  generally  supposed  that  the  original 
four-string  lyre  (called  the  tetrachordon) 
was  tuned  to  these  sounds.  The  addition 
of  another  tetrachord,  beginning  with  the 
highest  note  of  this  one,  gives  the  scale  of 
the  heptachord,  or  seven-string  lyre,  thus: — 


"^                ^    e,VfZ 

-^    -^ 

9-- 

-7:^'^     ^     ,.    — — 

, 

11 

This  is  called  the  scale  of  conjunct  tetra- 
chords,  the  A  being  the  note  common  to 
both.  The  addition  of  a  note  behna  this 
scale,  thus  : — 


gives  the  original  octave  scale  of  the  lyre. 
This  scale  is  the  normal  Greek  scale,  called 
the  Dorian.  It  is  doubtless  the  origin  of 
the  modern  minor  scale.  The  tetrachord 
known  as  Hucbald's  had  the  halftone  in 
the  middle,  thus :     D    E    F    G. 

The  Hexachord  scales  {q.  t'.  )  were  formed 
from  this  tetrachord  by  adding  one  letter 
above  and  one  below,  thus  : — 

C    D    E~F   G    A. 

In  the  modern  major  scale  the  half-tone  lies 
between  the  third  and  fourth  letters  of  the 
tetrachord,  thus:     C  D   E   F,  and  the  scale 

consists  of  two  of  these  tetrachords  separ- 
ated by  a  whole  v.jne. 

Terschak,  Ad.     Composer,  flutist ;  Germany. 
B.  1832;  d.  1907, 


TETRACIIORDAL  SYSTEM 


95 


TIME 


Tetrachordal  System.  The  original  name 
of  the  Tonic  Sol  Fa,  q.  v.. 

Theil  or  Teil  (Ger.).  A  part  (portion, 
not  "  voice  "). 

Theme,  Theme  (Fr.)  {tehm),  Thema  (Ger.) 
{teh-ina).  The  subject  of  a  fugue  ;  one  of 
the  subjects  of  a  sonata  or  rondo.  The 
subject  of  a  set  of  variations.  The  "  can- 
tus  "  to  which  counterpoint  is  added. 

Theorbo,  Theorbe  (Fr.).  A  large  variety 
of  lute. 

Third.  An  interval  including  three  letters, 
and,  if  major,  two  whole  tones  ;  if  minor, 
three  half-tones ;  if  diminished,  two  half- 
tones : — 


i 


-^9- 


2i: 


'W^r 


T.iirty-second  Note     ^  . 

Th.jrough  Bass,  Figured  Bass,  Contin- 
u;d  Bass.  A  system  of  musical  short- 
hand originally  ;  now  used  as  a  means  of 
teaching  harmony. 

Threnody  [Gr.  threnos\.  A  song  of  mourn- 
ing ;  dirge. 

Thumb  Position.  Violoncello  music ;  sign  1 , 

the  thumb  is  laid  across  the  strings,  making 
a  temporary  bridge. 

Tibia  (Lat.).  The  "shinbone."  Tatin  name 
for  the  flute,  which  was  originally  made 
from  the  bone,  the  name  of  which  it  bears. 

Tibia  Utricularis.     Bagpipe. 

Tibicen  (Lat.).     A  flute  player. 

Tie,  Fascia  (It.),  Bindebogen  (Ger.),  Liai- 
son (Fr. ).  A  curved  line  joining  two  notes 
on  the  same  degree.  The  first  note  is 
sounded,  the  second  is  "  held."  In  old 
editions,  in  place  of  the  tie,  it  was  custom- 
ary to  write  a  single  note  on  the  bar-line, 
equal  in  value  to  the  two  notes  that  in  mod- 
ern practice  are  tied.      Thus:^ 


sign  must  be  repeated  for  each  one,  thus :— 


f 


4 


-?-^- 


for 


f 


-5^ 


<9- 


-<g^5l- 


Any    number  of  notes  may  be   tied.      The 

Thalberg,  S  (tal-berg).  Composer,  pianist; 
Switzerland.      B.  l8l2  ;  d.  1871. 

Thayer,  A.  W.  Writer;  U.  S.  A.  B.  1817 ; 
d.   1S97. 

Thayer,  Eugene.  Organist,  composer;  U. 
8.  A.      B.  1838;  d.  1889. 

Thomas,  C.  Ambroise  [tomaJi,  am-bro-az). 
Composer;   France.      B.  1811;  d.  1896. 

Thomas,  Theo.  Violini-t,  conductor;  Ger- 
many.     B.  1835  ;   d.  1905. 


r 


The  first  note  is  struck,  but  the  sound  is  pro- 
longed until  the  time  value  of  all  has  ex- 
pired. 
Tief  (Ger.).     Deep;   low. 

Tierce,      (i)   A   third.      (2)   An   organ  stop. 

See  Terz. 
Tierce  de  picardie  (Fr.).     The  major  3d  in 

place  of  the  minor  in  the  final  chord  of  a 

piece  in  the  minor  key.      At  one  time  this 

manner  of  ending  was  the  rule. 

Tierce  Position.  A  common  chord  witb 
root  in  bass  and  third  at  top. 

Timbale  (Fr.),  Timballo  (It.).  Kettle- 
drum. 

Timbre,  (Fr.)  {tanibr).  Quality  of  tone.  In 
German  Klangfarbe,  for  which  Clangliiit 
has  been  proposed  as  an  English  equivalent. 

Timbrel.     Tambourine. 

Time.  (l)  The  division  of  music  into  por- 
tions marked  by  the  regular  return  of  an 
accent.     All  varieties  ot  time  are  founded 

on  two  units — the  Binary  =12,  and  Ter- 
nary =  123.  Time  signatures  for  the 
most  part  are  formed  from  figures  written 
like  fractions,  the  upper  figure  giving  tlie 
rhythmic  units  and  the  number  of  times  the 
value  of  the  note  indicated  by  the  lower 
figure  occurs  in  the  measure.  Time  is  Sim- 
ple Binary  when  the  upper  figure  is  2 ; 
Simple  Ternary,  when  the  ujiper  figure  is  3. 
Compound  times  are  formed  liy  adding  to- 
gether two  or  more  of  the  time  units.  \Mien 
tlie  number  of  accents  resulting  from  this 
coml)ination  are  C7't«,  it  is  called  Compound 
Common  time  ;  when  they  are  odd,  Com- 
pound Triple  time.  Simple  Duple  time  is 
indicated  by  this  sign  $.  As  now  used, 
it  always  means  the  value  of  a  whole  note 
in  the  measure,  and  is  called  Alia  Capella 
time.  Like  all  duple  times,  it  must  have 
but  one  accent  in  the  measure,  no  matter 
how  the  time  value  of  the  measure  may  be 
divided.      The     first    compound    of    Duple 

time,  viz.,  |  time,  is  often  marked  \\  and 

is  called  Common  time,  under  the  impression 
that  the  sign  is  the  letter  C,  whereas  it  is 

Thome,  F.  L.  J-  [toh-meh).  Composer; 
Mauritius.      B.  1850;   d.  1910. 

Thunder,  Henry.  Organist,  composer  ;  Ire- 
land.    B.  1832;  d.  1881. 

Thursby,  Emma.      Soprano ;  U.  S.  A.      B. 

1857. 
Titjens,   T.    C.    J-    {tee-tee' -ens).      Soprano; 

Germany.      B.  "1831  ;  d.  1877. 


TIMIDEZZA 


96 


TOUCHE 


the  old  sign  for  Imperfect  time,  viz.,  a 
broken  circle,  and  originally  meant  two  beats 
in  the  measure,  'i'hree  beats  was  called 
Perfect    time;     the   sign   was    ^J-     With 

the  exception  of  the  times  with  4  for  the 
upper  figure,  all  the  compound  times  are 
multiples  of  the  ternary  unit,  as    f  ,   6     6  — 

K" ,     g"" ,    j^  g ,  etc. ,    Compound    Common  ; 

4 '  8 '  1^6 '  Compound  Triple.  The  accents 
in  compound  times  are  determined  by  the 
number  of  units  in  the  measure.  The  first 
is  the  strongest,  third  next,  the  second  is 
weak,  the  fourth  weaker. 


r  r  r 


4l 

12 
8 


In  Compound  Triple,  the  second  and  third 
are   both  weak. 


Timidezza  (It.)  {tee  -  iiiee  -  del'-  za),  con. 
With  timidity. 

Timorosamente  (It. )  (tee  -  mo  -  ro-sa-tnen'- 
tcli).     Timorously. 

Timoroso  (It.)  {tee-iiio-ro'-so).  Timorous; 
hesitating. 

Timpani  (It.)  [thii'-pa-iiee').  Kettle-drums. 
Abbreviated  Timp. 

Timpanista  (It.).  Player  on  the  kettle- 
drums. 

Tirade  (Fr.)  {tee-rad).  A  rapid  run  or  scale 
pas.sage. 

Tirasse  (Fr. )  [tee-rass).  A  pedal  keyboard 
that  "  draws  down  "  the  manual  keys. 

Tirata  (It.)  {tee-rah'-tah).     See  Tirade. 

Tirato  (It.),  Tire  (Fr.)  {tee-rch).  "  Drawn  " 
bow,  ?'.  e. ,  down  bow. 

Toccata  (It.)  [tok  kah'-laJi)  [touched,  from 
toccare,  \o\.OMc\\\.  (l)  A  prelude  or  over- 
ture. (2)  A  brilliant  composition  resembling 
somewhat  the  modern  "  Etude  "  for  piano 
or  organ. 

Toccatina  (It.)  (tok-kaJi-tee'-nah).  A  little 
toccata. 

Toccato  (It.).     A  bass  trumpet  part. 

Todtenmarsch  (Ger. )  (tote' -ten  marsh). 
Funeral  march. 

Ton  (Ger.),  Ton  (Fr.).  Tone;  sound; 
pitch  ;  key  ;   scale. 

Tonal  Fugue.  A  fugue  in  which  the  answer 
is  slightly  changed  to  avoid  modulation. 

Tomaschek,  W.  Composer,  pianist ;  Bo- 
hemia.    B.    1774;  d.  1850. 


Tonality.     Pertaining  to  the  key. 

Tonart.     Key. 

Tonbildung.     Tone  production. 

Tondichter.     Tone  poet. 

Tondichtung.     Tone  poem. 

Tone,  (i)  Sound.  (2)  Quality  of  sound. 
(3)  Interval  of  major  second.  (4)  A  Gre- 
gorian chant. 

Tongue.  (l)  See  Jieed.  (2)  (verb)  To 
interrupt  the  sound  of  a  wind  instrument  by 
raising  and  lowering  the  tip  of  the  tongue, 
as  in  the  act  of  pronouncing  the  letter  T. 
Double-tonguing  is  produced  by  a  like 
action  of  the  tip  and  the  middle  of  the 
tongue;  Triple-tonguing,  by  the  tip,  the 
middle,  and  the  tip. 

Tonkunst.     Tone  art ;  music. 

Tonkiinstler.     Composer;  artist  in  tone. 

Tonic.  The  keynote  of  a  scale,  whether 
major  or  minor. 

Tonic  Chord.  The  common  chord  of  which 
the  tonic  is  the  root. 

Tonic  Section.  That  part  of  the  sonata  or 
rondo  that  is  the  principal  key ;  the  first 
theme. 

Tonic  Sol  Fa.  A  system  of  musical  notation 
in  which  the  syllables  doh,  ray,  me,  fah, 
soil,  lab,  te,  with  certain  modifications,  are 
usetl  in  place  of  notes,  staff,  clefs,  and  all 
the  ordinary  characters  of  musical  notation. 
The  Tonic  Sol  Fa  is  based  on  the  assumption, 
amply  proved  by  experience,  that  the 
mental  association  between  a  succession  of 
sounds  and  a  succession  of  syllables  helps 
materially  to  fix  the  former  in  the  memory 
(see  Hexachord).  The  principle  of  the 
Tonic  Sol  Fa  system  is  as  old  as  the  time  of 
Guido;  the  modem  development  of  it 
originated  with  Miss  Sarah  Ann  Glover,  of 
Norwich,  England,  in  1812,  and  was 
perfected  by  the  Rev.  John  Curwen  about 
thirty  years  later. 

Tonleiter.     Tone  ladder  ;  scale. 

Tonsetzer.     Composer  ;   tone  setter. 

Tonstiick.     Tone  piece ;  composition. 

Tonstufe.    Tone  step  ;   a  degree  in  the  scale. 

Tostamente  ( It. )  ( tos  -  tah  -  men'-  teli ). 
()uickly. 

Tostissimo  (It.)  (tos-tis' -see-mo),  Tostissa- 
mamente  [tos-tis-saJi-viu/i-men'-te/i).  Past 
as  possible. 

Tosto  (It.).     Quick.      Piu  tosto,  faster. 

Touch.  (l)  The  resistance  of  the  keys  of 
the  pianoforte  or  organ.  (2)  The  manner 
in  which  a  player  strikes  the  keys. 

Touche  (Fr.)  (toosh).  Digital;  key;  fret; 
fingerboard. 

Tos\.\,¥.V.  (tos-tee).  Composer;  Italy.  B. 
1846. 


TOUCHER 


97 


TRILL 


Always;     as, 

Transcribed ; 

Carrying  of  the 

Slurred  ;  legato, 
uii ;     passage  ;    se- 

Quietly ;    compos- 

With  tranquility. 


Toucher    (Fr.)    {too-shar).     To     "touch 
play  the  pianoforte. 

Toujours    (Fr. )    [too-zhoor). 
Toujours  piano,  always  soft. 

Tradotto    (It.)    \trah-dot'-to). 

arranged. 
Tragen  der  Stimme  (Ger.). 

voice.      See  Portamento. 

Traine  (Fr. )  (tray  nay). 
Trait    (Fr.)    {tray).     A 

quence. 
Tranquillamente    (It). 

edly. 
Tranquillita,  con  (It.). 
Tranquillo  (It. ).      Tranquil;  quiet. 

Transcription.  The  arrangement  of  a  vocal 
composition  for  an  instrument,  or  of  a  com- 
position for  some  instrument  for  another. 

Transient  Modulation.  A  short  excursion 
into  a  non-related  key. 

Transition,  (i)  An  abrupt  modulation.  (2) 
The  connecting  passages  between  the 
themes  of  a  rondo  or  sonata. 

Transpose.  To  change  the  key  of  a  compo- 
sition to  one  higher  or  lower. 

Transposing  Instruments.  Instruments 
whose  sounds  do  not  correspond  with  the 
written  notes;  as  horns,  clarionets,  trumpets, 
etc. 

Transverse  Flute.     See  Flute. 

Trascinando  (It.)  {trah-shee-nan' -do) .  Drag- 
ging ;   retarding. 

Trattenuto  (It.)  (trat-teh-noo' -to).  Held 
back ;   retarded. 

Trauermarsch  (Ger.).     Funeral  march. 

Traurig  (Ger.)  (trou'rig).      Mournful;  sad. 

Traversflote  (Ger.).     See  Flute. 

Tre  (It.)  {tray).     Three. 

Tre  corde.  Three  strings,  used  in  pianoforte 
music  to  signify  a  release  of  the  una-corda 
pedal. 

Treble,  (i)  The  highest  part  in  vocal  music 
for  mixed  or  female  voices.  (2)  The  G 
clef  on  second  line.  (3)  The  first  violin  in 
quartet,  and  the  flute,  oboe,  and  clarionet 
in  the  orchestra  generally. 

Treibend  (Ger.).      Hastening;    accelerando. 


Tremando  (It.)  {treh-man'-do),  Tremolan- 
do  (It.)  (Jreh-ino-lan'-do  ,  Tremolo  (It. ) 
{treh' -)>io-lo).  Abbreviation  Trem.  'V\\e. 
rapid  reiteration  of  a  note  or  chord.  In 
music  for  string  instruments  written  thus : — 


1^ 


In  pianoforte  music  :  — 


or 


1/                      ^^"^^                       ^^^^    i                    1 

/\^           ^ 

<^ 

lA^            A 

A 

W % — 

% ■ 

Tremoloso  (It.)  {Ireh-mo-lo'-so).  Tremu- 
lously. 

Tremulant,  Tremolante  (It.),  Tremblant 
(Fr. )  \trom-blont).  A  mechanism  in  the 
organ  that  causes  the  sound  to  waver. 

Tremulieren  (Ger.).  To  trill  or  to  sing. 
Vibrato,  q.  v. 

Trenchmore.  An  old  English  dance  in  \ 
time. 

Trenise  (Fr.).     A  figure  in  the  quadrille. 

Tres  (Fr. )  {tray).  Very;  as,  Tres  vite,  very 
fast. 

Triad.  A  chord  of  three  sounds  ;  a  common- 
chord,  consisting  of  root,  3d  major  or 
minor,  and  5th.  If  the  5th  is  diminished, 
it  is  called  a  diminished  triad  ;  if  aug- 
mented, an  augmented  triad. 


i 


-<Sr 


--f: 


if: 


El 


I: 


Maj. 


A/in. 


Din 


Aug. 


Triangle.  A  pulsatile  instrument,  consisting 
of  a  steel  rod  bent  into  an  equilateral  tri- 
angle. Struck  with  a  small  steel  rod,  it 
gives  a  very  clear  penetrating  sound. 

Trill,  Trillo  (It.),  Trille  (Fr ),  Triller 
(Ger.).  The  rapid  iteration  of  the  written 
note  and  the  note  above,  indicated  by  the 
sign,  tr.^,,^^^^,^^^^.  The  trill  continues  to 
the  end  of  the  waved  line.  The  following 
exhaustive  account  of  the  trill  is  abridged 
from  Russell's  "Embellishments  of 
Music"  :  — 

The  oldest  form  of  trillo  was  a  mere  repe- 
tition of  a  tone  ;    thus  : — 


«         #       4        0    4m*4dSd§d44 

The  gruppo  of  the  Italians  approaches  nearer  the  modern  trill :  — 

I       I- 


J. 


lourjee,  liben.  Writer;  U.S.A.  B.  1834; 
d.  1S91. 

Tours,  Berthold.  Composer,  violinist ;  Hol- 
land.    B. 1S3S;  d.  1S97. 

7 


Tourte,    F.     {toort).        Violin-bow    maker; 
France.      B.  1747  ;  d.  1835. 


I 


-«*- 


TRILL 


Zgi- 


I 


^=r= 


98 


TRILL 


-#—•--! P- #-=-—# #-!— # #  •      ^    »^— ^-» 


i«— h 


-^rh 


i— h-l*-r 


Griippi. 


Trillo. 


=^=^=^  ^^-s-r-f-r-f  r  ^  f  f-# 


Another  old  form   of   embellishing   a  tone 
was  called  the  ribattuta,  thus  : — 


4 


> 


The  oldest  form  of  the  modern  shake 
was  held  to  be  derived  from  appoggiaturas 
and  their  resolutions. 

Marpurg,  Em.  Bach,  and  Tiirk,  all  claim 
ihe  shake  to  be  a  rapid  succession  of  appog- 
giaturas.    (Vorschlage  von  oben.) 

There  is  no  doubt,  however,  that  the 
shake  came  quite  directly  from  the  gruppo, 
as  explained  by  Caccini  (l6oo),  and  the 
attempt  to  square  its  delivery  with  the 
appoggiatura  quite  overlooked  the  real 
character  of  the  embellishment,  which  dif- 
fered essentially  from  the  harmonic  grace. 

Until  the  time  of  Beethoven,  the  trill 
beginning  with  upper  auxiliary  note  was 
most  generally  used. 

However,  the  present  method  of  begin- 
ning with  the  principal  tone  was  gradually 
gaining  the  attention  of  writers,  even  Mar- 
purg sounding  a  note  of  warning  (1755) 
against  the  "  vicious  innovations"  of  some 
who  began  the  pralltriller  with  the  princi- 
pal tone.  The  trill  is  generally  finished 
with  a  turn. 

The  after-turn  is  usually  written  out  at  the 
close  of  the  trill,  but  whether  or  not  this  be 
so,  the  trill  is  not  complete  without  this 
closing  beat : — 


To  make  the  trill  symmetrical  with  an  after- 
turn,  an  additional  tone  is  inserted,  just 
before  the  close,  otherwise  there  will  be  a 
break  between  the  last  and  the  next  to  the 
last  beats  ;  thus  : — 


-^-- 


This  gap  between  D  and  B  is  filled  by  the 
insertion  of  an  additional  principal  tone, 
which  will  make  the  next  to  the  last  beat 
contain  three  tones  (a  triplet)  ;  thus : — 


=^ 


This  makes  a  satisfactory  close  to  a  trill, 
the  two  beats  (five  notes)  making  a  com- 
plete turn  of  quintuplet  form. 

Many  writers  call  this  (quintuplet)  the 
turn  of  the  trill,  but  properly  speaking  the 
after-turn  of  the  trill  is  only  the  last  beat,  the 
triplet  preceding  being  a  real  part  of  the  trill. 

From  this  it  will  be  seen  that  the  beats  of 
a  trill  may  be  either  twofold  or  threefold, 
and  the  smallest  complete  trill,  according 
with  the  modern  acceptation  of  the  correct 
form  of  the  embellishment,  would  be  with 
two  beats,  five  notes  ;   thus  : — 


However,  in  Bach,  and  even  later — in 
Mozart — trills  are  sometimes  quite  consistent 
with  correct    performance  which  have  tivo 

beats  of  ttvo  notes  ;  thus  : — 


i 


tr 


S 


4- 


In  more  modern  music,  however,  this 
would  scarcely  be  justified,  unless  marked 
with  an  appoggiatura  upon  the  upper  degree 
(as  per  rule  quoted). 

The  rapidity  of  a  trill  is  reckoned  by  the 
number  of  beats,  not  by  the  number  of 
tones,  sounded  within  a  given  note's  time. 
The  trill  upon  a  long  note  has  no  positive 
number  of  beats,  this  being  decided,  in  case 
there  is  no  particular  accompanying  figure, 
by  the  character  of  the  composition  and 
also  measurably  by  the  ability  of  the  inter- 
preter. The  after-turn,  however,  should 
always  be  played  in  the  same  time  as  the 
trill,  regardless  of  the  size  of  note  used  for 
its  representation  in  the  notation.  If  these 
notes  be  of  regular  size,  forming  part  of  ike 
measure,  they  mill  be  a  guide  as  to  the 
rapidity  of  the  trill,  the  after-turn  of  which 
will  constitute  one  beat. 

tr 


t 


^     ^  '    ^ 


4 


Execution . 


TRILL 


99 


TRILL 


The  inverted  trill  (z.  e.,  beginning  with 
upper  tone)  completes  itself  wUkotti  the 
triplet  before  the  cifter-ttirn  ;    thus  : — 

Inverted  : — 


f 


^ 


Execution  : — 


I 


Normal : — 


^ 


±: 


Execution  :- 


The  incomplete  trill  has  no  after-turn, 
being  the  simple  alternation  of  the  principal 
tone  with  its  auxiliary. 

When  followed  by  an  unaccented  note, 
the  trill  may  be  incomplete,  but  must  not 
end  with  the  auxiliary  tone,  for  all  trills 
must  close  with  the  principal  tone  ;  thus  : — 


Execution  :- 


In  this  case  the  last  beat  of  the  trill  con- 
tains three  tones,  thus  bringing  a  triplet  at 
the  end  of  the  ornament. 

This  is  always  the  case  with  incomplete 
trills  beginning  on  principal  tone,  therefore 
the  smallest  possible  trill  in  modern  music 
contains  a  single  beat  of  three  tones, — prin- 
cipal, auxiliary,  principal  : —       li^l 

The  trill  of  one  beat  can  only  occur  on  very 
short  notes,  as  the  pralltriller  explained  in 
previous  paragraph. 


Execution . 


I \ — \ — ' ^ — 0-^0 

I 1 I I I I I 


In  the  old  form,  beginning  on  upper  auxili- 
ary, the  smallest  actual  trill  possible  would 


be  of  four  notes  (two  beats),         i     i     i     i 
since  the  single  twofold  beat       {^ ,     is  but 


an  appoggiatura. 

Accompanied  trills  require  a  strict 
rhythmic  conformity  with  the  accompani- 
ment. 

If  the  trill  be  accompanied  by  a  single 
note,  the  number  of  beats  is  somewhat 
optional,  yet  they  should  be  in  some  direct 
ratio  with  the  rhythm  of  the  piece. 

In  duple  or  quadruple  time,  the  beats 
should  be  two,  four,  or  eight  in  number,  on 
an  eighth  or  fourth  note,  while  on  a  dotted 
note  in  triple  measure  three  beats  will  be 
found  symmetrical  in  effect. 

If  the  trill  be  accompanied  by  groups  of 
notes,  the  number  of  beats  must  be  more 
strictly  determined.  Thus,  a  trilled  note, 
with  four  accompanying  tones,  will  require 
either  two,  four,  or  eight  beats,  according  to 
the  duration  of  the  note : — 

8  Beats:— 


4  Beats: — 


If   the    trill    be    accompanied    by    three 
notes,  there  will  be  either  three  or  six  beats. 


3  Beats : — 


Pi 


^- 


*:±jtL 


-^ 


r 


6  Beats  :- 


When  the  tempo  is  very  rapid,  making  it 
impracticable  to  play  a  trill  of  four  beats  to 
the  group,  and  yet  too  slow  for  two  beats  only 
(practically  making  the  trill,  note  for  note, 
with  the  accompanying  figure),  the  trill  may 


TRILL 


100 


TRILL 


be  made  with  one  threefold  beat,  followed 
by  a  fourfold  turn,  a.b  follows  : — - 


i 


F 


0^» 


^— ^ 


The  same  arrangement  of  the  trill  may 
be  used  with  two  beats,  one  of  three  notes 
and  one  of  two  notes,  in  case  of  a  rapid  ac- 
companiment of  three  tones,  thus  : — 

I ^      N 


^ 


Ifr^Itt 


S^^Tt 


Pi 


The  five  notes  are  played  as  a  quintuplet 
(equal  in  length),  against  the  triplet  in  the 
accompaniment. 

In  the  older  classics,  a  trill  upon  a  dotted 
note  is  played  according  to  the  rule  for  a  turn 
similarly  placed,  ?'.  e.,  the  last  tone  falls 
upon  the  time  of  the  dot. 

This  is  much  used  in  classic  cadences, 
with  anticipated  final  note. 

If  the  following  note  be  above  the  trilled 
tone,  the  turn  is  required,  but  if  it  be  below, 
the  turn  is  not  necessary,  the  trill  ending 
with  principal  tone  upon  the  dot. 

First: —      ty. 


^ 


Execution  :- 


^-*- 


^^ir 


'^^- 


Second: —   /», 

In 


Execution  : — 


While  the  turn  is  not  essential  in  the  sec- 
ond example  above,  yet  it  could  readily  be 
used,  and  to  insure  a  more  accurate  en- 
semble, in  case  of  more  than  o:ie  performer, 
the  phrase  would  better  be  closed  with  a  turn 
after  the  trill. 

The  more  modern  method  of  treatment 
of  trills  on  dotted  notes  would  be  to  trill 
the  entire  length  of  the  tone  (with  dot), 
and  consider  the  short  tone  following  of 
the  same  length  as  the  notes  of  the  trill. 


The  same  rules,  however,  regarding  the 
after  tone  will  apply  here  as  in  the  older 
rendering. 

The  trill  upon  a  tied  note  or  on  a  note 
followed  by  another  on  same  degree  ( with- 
out trill)  requires  a  single  lower  auxiliary  to 
form  a  turn  immediately  before  the  second 
note. 

This  note  may  be  written  in,  or  not,  but 
is  always  required. 


Execution  : — 


A  brilliant  modern  device  in  trilled  pas- 
sages is  the  gradual  quickening  of  the  fre- 
quency of  the  beats,  from  a  simple  beat  to 
a  double,  triple,  etc. 

This,  with  combined  crescendo  and  dimin- 
uendo, produces  an  effect  somewhat  similar 
to  the  ancient  ribattuta.  Some  composers 
have  indicated  such  methods  of  trilling  in 
full,  thus  : — 

tr 


^ 


Execution  : — 


The  chain  of  trills  [Ger. ,  Trillerkettcn: 
It.,  catena  di  trilli'\  is  a  succession  of 
trilled  tones  ascending  or  descending  by 
degrees  or  by  skips. 

If  the  notes  be  very  short  and  in  quick 
succession,  not  more  than  the  simplest  form 
of  threefold  beat  can  be  played. 

tr     tr     tr     tr 


Execution  :- 


The  after-turn  need  not  always  be  used, 
if  not  written  in  the  phrase.  This  will  be 
decided  largely  by  the  rapidity  of  the 
passage. 

More  elaborate  and  less  rapid  chains  of 
trills  require  a  complete  trill  upon  every 
tone,  and  frequently  the  notes  are  of  sufifi- 


TKILL 


loi 


T^JH- 


cient  length  to  allow  a  trill  of  several  beats, 
thus : — 

Allegro. 

tr         tr  tr 


A  chain  of  trills  without  after-tones, 
as  follows,  is  also  authorized  by  such  au- 
thorities as  Tiirk,  Bach,  etc. 

or  ^  tr 


i 


t- 


Execttiion  : — 


if^f  *-^-»-^-*-^-»-^^  j  s  J- 


This  manner  of  performance  gives  the 
accent  to  the  upper  auxiliary  tone. 

In  extremely  rapid  tempo,  a  very  effective 
trill  chain  may  be  used  with  but  four  tones, 
beginning  upon  the  upper  auxiliary  and 
closing  with  a  twofold  after-turn. 


tr        tr 


tr        tr 


Instead    of    the    following    more    modern 
manner : — 

h  5 


This  short  form  has  been  called  the  half 
trill,  and  is  only  used  with  beginning  on 
upper  auxiliary  tone. 

Instead  of  the  conventional  after-turn  of 
two  notes,  frequent  use  is  made  (especially 
by  modern  composers)  of  an  elaborate  clos- 
ing figure  as  a  "  tirata  "  : — 

tr  ^ 


-)9- 


-P^ 


4^ 


-^ — - 


The  four  notes  here  will  constitute  two 
beats  of  the  same  rapidity  as  the  beats  of 
the  trill. 

The  various  beginnings  of  a  trill  may  be 
applied  to  the  modern  manner  of  perform- 
ance or  the  older  way,  i.e.,  with  accent 
upon  the  principal  tone  or  the  upper 
auxiliary. 


In   the    performance    of  a   classic  work 

the  player  or  singer  is  allowed  the  privilege 
of  discrimination  in  choice,  but  it  may  be 
generally  stated  that  the  modern  ear  will  less 
likely  be  ofiended  by  the  accenting  of  the 
principal  tone  than  of  the  auxiliary. 

But  if  one  desires  to  give  an  exact  classic 
rendering  of  Bach,  or  even  so  recent  a  com- 
poser as  Mozart,  the  embelli.^hmenls 
throughout  must  be  consistent  in  their 
delivery  and  not  mixed,  the  trills  es]:>ecially 
being  made  either  all  of  modern  or  older 
pattern.  In  the  latter  case,  the  quaintness 
of  some  of  the  ancient  embellishments  pro- 
duces very  charming  effects,  and  no  amount 
of  objecting  criticism  can  avail  against  the 
performance  as  a  true  classic  rendering. 

In  modern  music  especially  there  will  be 
found  various  approaches  to  the  trill,  thus, 
each  indicating  the  same  eflect : — 


Written. 


Jbr 


^v^= 


f\Y^tr 


^^^ 


Exectition. 


Wagner  i^Musikalische  Ornamentik)  gives 
a  strong  and  rapid  introductory  beat  to  longer 
trills,  which  may  olten  be  used  with  good 
effect;   thus:  — 


This  immediately  throws  the  accent  of  the 
trill  upon  the  upper  auxiliary,  although  it 
begins  with  the  principal  tone,  thus  seem- 
ingly fulfilling  the  requirements  of  both  the 
older  and  the  modern  rules.  Ludwig  Klee 
also  uses  this  form  of  the  introductory  beat, 
but  with   the   difference   that  the  first  beat 

forms  a  triplet : —     ^^^3       ^5 

This  ingenious  delivery  of  the  trill  is  not 
frequently  seen,  but  will  certainly  bear  care- 
ful study,  and  is  especially  helpful  in  cases 
of  doubt  as  to  which  of  the  methods  of 
delivery  to  use  (the  old  or  modern). 

In  the  case  of  tied  notes,  when  the  second 
note  is  a  shorter  one  and   not  to  be  trilled, 


TRI.''.L 


lOJi 


TRII.L 


the  former  way  of  delivery  used  no  after- 
turn,  and  consequently  the  only  proper 
beginning  of  the  trill  was  on  the  principal 
tone,  as  the  trill  from  the  upper  auxiliary 
made  a  weak  close. 


There  were  many  similar  disadvantages 
attending  the  old  manner  of  trilling,  yet 
withal  much  of  artistic  force  often  follows 
its  use. 

The  rules  given  should  be  carefully 
applied  in  all  cases  of  doubt,  when  the 
composer  has  not  indicated  by  a  small  note 
the  tone  upon  which  the  trill  enters. 


It  will  be  v/ell  for  the  student  to  bear  in 
mind  that  the  greater  weight  of  opinion 
among  classic  reviewers  and  editors  rests 
with  the  older  method  of  trill  delivery  (from 
upper  tone),  and  most  editions  of  Bee- 
thoven, Mozart,  Haydn,  etc.,  having  anno- 
tations, give  this  manner  of  performance  as 
correct.  It  is  to  be  remarked,  however, 
that  modern  performers  (virtuosi),  who 
really  create  the  style  and  through  whom 
we  expect  the  better  elements  of  traditions 
to  be  conserved,  do  not,  as  a  rule,  testify  in 
their  performances  to  the  absolute  truth  of 
this  manner  of  trilling. 

More  modern  composers  (Chopin,  Schu- 
mann, etc. )  have  so  positively  written  their 
trills,  with  the  accent  upon  the  principal 
tone,  as  to  have  cultivated  almost  beyond 
recall,  even  in  the  greater  virtuosi,  the  feel- 
ing for  such  a  manner  of  performance 
rather  than  with  the  accented  upper  auxil- 
iary. 


Examples.— The  Trill, 


0 

^      b           tr          '^     —     — f^ 

^'Vr-f--- 

•f- 

—7— 

h-f-^^^ ^ 

— 1 

\tr-^  h     1 — 

*^    Written.  ^— 
( Mozart. ) 
Exeaition. 

— -H- 

— 1 — 

H 

^-1 

— lL.j^ »    *      '    1 . 

1 — 

JFn'tten 


r-^ 


e     Adagio. 
(Vritten.  tr 


(Haydn.) 

4*- 


fr^ 


*i 


i I • 


tr   f\ 


# 


f=f=i^^ 


H 


^i^^^t^Bii^^^^:^^^^^^^^ 


^^^Mr^ 


Execution.' 


TRILL 


103 


TRILL 


Written. 

e  tr 


/Allegro,    tr^ 


Written, 
g     Allegro,  tr 


fi  •       tr 


■4- 


tr 


^^•-^ 


^^ 


^ 


=^ 


H-?-*- 
-*-^-l- 


--^ 


■^ — 0-\- 

-I — I-    ■ 


:^ 


Execution. 


From  above  (inverted) ,  in  strictly  classic  readings. 
Written. 

tr 


% 


-0 0- 


-4         0- 


-4 4- 


*-'  ( Mozart. ) 

Execution. 


Written. 


% 


;iEE 


tr 


tr 


# — *- 


A     f  •  J     ^ 


t-^ 


^ 


^• * 


0-^ 


(Bach.) 
,,    u       Exectttion. 


TRILL 


104 


TRILL 


Written, 
d         «« 


tr 


tr 


:!2= 


teE^EEsE 


-# — • 


^-^0- 


# 


M 


(Haydn.) 
Execution. 


P^^BE^: 


=:> 


i=rt 


0—^—0- 


^=1 


-^ *-!■ P— i/- 


I 1- 


Written. 

e 


J^ 


tr 

:^ — ^- 


=^f 


H-^ 1- 


:^ 


* 


(Handel.) 
Execution.  -^ 


Written. 

f 


% 


tr 


^^*^ft 


JP^S^ 


-'7^^—^—^ 


-^ 


Execution. 


\^^S^m-'~m^*^^g I        I    ill     i        n    I    I    I    I     I     i  1 


With  Appoggiatura  or  slurred  note. 
Written. 


:b._L'i-«£ 


-'    *" 1 I 1 [ _i 


^^-0 


* 


^ 


E 


H — y- 


l^-M. 


-8^- 


t— i  I  I 


Hi     I  I  JMliii^ 


^- 


( Bach.) 
Execution. 


Haydn. ) 


-its-* 


I 
^ 


Unusual  prefixes  and  closes.      (Double  After-beat,  etc.) 
Written. 


tr 


tr 


■a^ 


^ 


tr 


-JJ (2<!- 


:^ 


\z^ — h 


Executic 


zixljrt:wt^zi^zzr^_ 


• • 


— m-*-X-*-S-*^^Jm :Jm Fl ^-M^-^^a'-F^-m^  <     -    *  Fl 


TRILL 


105 


TRILL 


i 


Written, 
d 


^- 


tr 


^        ^    tr 


-H- 


5=^ 


^ 


Execution. 


i 


etc. 


etc. 


iiaiztifiizttf: 


f=:^=i=^f=j=f=^r=?r 


S 


Written. 

f  tir 


tr 


(Mozart.) 
Execution. 


-<&- 


-^ r 


^ r 


-:i^-:it 


(S*- 


— ^-J — 1-^^ — h-i — I — I — H— 


-T©- 


— I — ^ : — ^ h-^ — I 1 1- 

■•■      *      ■#■      •      ■0-'  -0-     -^    -0- 


-G^- 


i 


Written. 
S 


tr 


d—*—f— 


^ 


H 0- 


*— ^ 


(Bach.) 
Execution. 


$ 


-^ 


^1 


?=rP=# 


FF-f^ 


■4- 


:•— #- 


Written. 

Allegro. 


tr. 


E 


::s: 


..-i^ 


I 


^^ 


(Mozart.) 
Execution. 


etc. 


Written. 
i      Allesrrc. 


I      /iuegro.^  ^  J 


^ 


^^^^^S 


SEE 


«*  f»  •    » 


Execution. 


(  Handel.) 


-f-0-^\-f- 


TRINKLIED 


106 


TROPPO 


Written. 


Trinklied  (Ger. ).     Drinking  song. 

Trio  (It.)  [tree-o).  (i)  A  composition  for 
three  voices  or  instruments.  (2)  One.  of 
the  parts  of  a  minuet  or  march,  etc.  The 
origin  of  its  application  is  very  uncertain. 

Triole  (Ger.),  Triolet    (Fr.).     A  triplet. 

Triomphale  (tree-ovi-fal),  Triomphant  (Fr.) 
[tri-om-foftt),  Trionfale  [tree-07i-fah'-tek), 
Trionfante  (It.)  (tree-on-fan'-te/i).  Trium- 
phant ;  triumphal. 

Triple  Counterpoint.  One  so  contrived 
that  the  three  parts  may  change  places,  each 
one  serving  as  bass,  middle,  or  upper  part. 

Triplet,  Triole  (Ger. ),  Triolet  (Fr.),  Tripla 
(It.)  or  Tripola.  Three  notes  played  in 
the  time  of  two  of  the  same  value. 

Triple  Time.     See  Time. 

Tristezza  (It.)  [tris-tet'-zd),  con.  With  sad- 
ness ;  sadly. 

Tritone  [Lat. ,  /r?V(7W7«,  three  tones],  Triton 
(Fr.),  Tritono  (It.).  The  interval  of  the 
augmented  4th,  as — 


-g>- 


-6^ 


Trebelli,  Lelia  {treh-bel'-lee). 
B.  1838;  d.  1893. 


Alto ;  France. 


Trois  (Fr.)  [tro-a).     Three. 
Trois  temps.     Triple  time. 

Troll  [from  Ger.,  trollen,  to  roll  about].  (l) 
(verb)  To  sing  a  catch  or  round.  (2) 
(noun)   A  catch  or  round. 

Tromba  (It.).  Trumpet;  a  brass  instru- 
ment of  piercing,  brilliant  tone  quality. 

Tromba  marina  (It.).     See  Nontiengeige. 

Trombetta  (It.).     A  small  trumpet. 

Trombone,  Posaune  (Ger.).  (i)  A  brass 
instrument  with  a  sliding  tube,  by  means 
of  which  the  pitch  may  be  varied.  Three 
trombones  are  used  in  the  modern  orches- 
tra, viz. ,  alto,  tenor,  and  bass.  A  smaller 
trombone  formerly  used  was  called  the  Des- 
cant Trombone.  (2)  A  reed  stop  of  8-, 
16-,  or  32-foot  pitch  in  the  organ. 

Trommel  (Ger.).     Drum. 

Trompe  (Fr.).     Hunting  horn. 

Trompe  de  beam.     Jews-harp. 

Trompette  (Fr.).     Trumpet. 

Troppo  (It.).  Too  much.  Allegro  non 
troppo,      "Allegro,"   not  too  much. 


Tschaikowsky,  P.  I.  {chi-kow' -skee) . 
poser;  Poland.     B.  1840 ;  d.  1893. 


Com- 


TROUBADOUR 


107 


TURN 


Troubadour,  Trouvere  (Fr. ),  Trovatore 
(It.).  The  poet  musicians  of  the  eleventh 
century,  in  southern  France, Italy,  and  Spain. 
The  troubadours  originated  in  Provenge. 
P>om  thence  their  "gentle  art,"  or  "gay 
science,"  as  it  was  called,  spread  over 
Europe. 

Troveur,  Trouverre  (Fr.).  A  writer  of 
romances,  fabliaux,  etc.;   also  a  troubadour. 

Triibe  (Ger.)  {Jree'-beh).     Gloomy;  dismal. 

Trumpet.     See  Trotnba. 

Tuba  (Lat.).  (l)  Trumpet.  (2)  A  bass 
instrument  of  the  saxhorn  family,  frequently 
used  .with,  or  in  place  of,  the  bass  trom- 
bone. 

Tuba  tnirabiles  (Lat.).  Tuba"  wonderful." 
A  reed-stop  in  the  organ  with  heavy  wind 
pressure,  8-  or  16-foot  tone. 

Tumultuoso  (It.)  {too-mul-too-o'-so).  Agi- 
tated ;   tumultuous. 

Tune,  (i)  Air ;  melody.  (2)  Just  intona- 
tion. 

Tuner.  One  who  adjusts  the  sounds  of  an 
instrument  to  the  standard  and  relative 
pitch. 

Tuono  (It.),     (i)   Sound.     (2)  Mode. 

Turca,  alia  (It.).      In  the  Turkish  manner. 

Turkish     Music     or     Jannisary     Music. 

Drums,    cymbals,    gongs,    etc.,  to  produce 
noise. 

Turn.  (Abridged  from  Russell's  "Embellish- 
ments of  Music") 

The  Turn  partakes  in  its  delivery  some- 
what of  the  character  of  the  composition 
in  which  it  appears,  and  should  be  played 
(or  sung),  according  to  Louis  Koehler, 
broad  in  slow  tempo,  light  and  flowing  in 
brighter  movements,  and  always  legato.  It 
may  be  broadly  divided  into  four  classes  : — 
I.      The  symbol  oc  placed  over  the  note 

I    (»    ),  or  the  note  preceded  by  the  embel- 
lishment written  in  full. 


Written  : — 


Execution  : — 


Tuckerman,  S.  P.      Composer,  organist ;  U. 
S.  A.     B.  1819  ;  d.  1890. 


2.      A  turn  between  two  notes  on  differ- 
ent degrees  (or  four  small  notes  between). 

_^ J 

JVritten . 


fj 


Execution  : — 


%A-=^^^ 


Adagio. 

-i— r— ^ Ih-t ' ^ -1-1 


i 


Moderato. 


Allegro.     5 


;^P^ 


-^J^Xi 


fjt- 


3.     A  turn  between  two  notes  of  similar 
pitch. 


«\9 


Written  : — 


Execution  :■ 


W=zfl 


Adagio. 


i^^ 


Moderato. 


4.  The  turn  after  a  dotted  note.  The 
delivery  of  this  turn  is  the  same  as  the 
third  class  in  its  effect,  since  the  dot  is  sim- 
ply another  way  of  writing  a  second  similar 
note. 


fiV 


Written : — 


^ 


An  exception  to  this  fourth  rule  is  made 
if  the  dotted  note  with  turn  directly  pre- 
cedes a  close  (possibly  forming  part  of  the 
cadence)  and  is  followed  by  two  notes  of 
equal  value  leading  up  or  down  to  the  clos- 
ing notes  of  the  phrase. 

Turini,    Fr.    (too-ree' -nee).      Composer;    Bo- 
hemia.    B.  1590 ;  d.  1656. 


TUTTA 


108 


VALUE 


Tutta  (It.).     All.     Con  tutta  forza.     With 

full  power. 
Tutti  (It.)  {too-tee).     In  scores,  a  notification 

to  all  the  performers  and  singers  to  take  part. 
Tuyau  (Fr.)     Pipe. 
Tuyau  d'  orgue.     Organ  pipe. 
Tuyau  a  anche.     Reed  pipe. 


Tuyau  a  bouche.     Flue  pipe. 

Twelfth.     An  organ  stop  sounding  the  1 2th 

above  the  diapason. 
Tympani.     See  Timpani. 

Tyrolienne  (Fr.)  (tee-rol-yeii).  (i)  ATyrolese 
song  for  dancing.  (2)  Tyrolese  song  with 
jodel. 


u 


U.  C.    Abbreviation  of  Una  corda,  one  string. 
Uebergang  (Ger. )  (e' -ber-gangk).    Passage; 

transition  ;   modulation. 
Uebung  (Ger.)  (i?'-/^0(?«/^).    Exercise;  study; 

practice. 
Uguale  (It.)  (po-g"Mah'-leh).     Equal. 
Ugualmente     (It.)     {00  - gwahl-ijien' -  teJi). 

Equally  ;   evenly. 
Umfang  (Ger.)  (oom-fangk).     Compass. 
Umore  (It.)  {po-mo'-reh),  con.    With  humor. 
Umstimmung {^Ger. ){oom-stim-tnoo>ik).   The 

change  of  the  pitch  of  a  brass  instrument  by 

the  addition  or  change  of   "crooks;"   the 

change  of  the  pitch  of  kettle-drums. 
Un  (It.)  {ooti),  Una  [oo'-naJi),  Uno  {oo'-no). 

One  ;  as,  Una  voce,  one  voice. 
Un  or  Une  (Fr.)  [png.^  ooii).     One. 

Unda  maris  (Lat.).  "Wave  of  the  sea." 
The  vox  celestis,  an  organ  stop,  8-foot  pitch, 
with  a  tremulous  tone. 

Unessential  Dissonances.  Those  that  oc- 
cur by  suspension,  the  essential  dissonances 
being  the  7th  and  9th,  and,  according  to 
some  authorities,  the  ilth  and  13th  over 
the  dominant. 

Ulrich,  Hugo.  Composer;  Silesia.  B.  1827; 
d.  1872. 


Unessential  Notes. 

notes. 

Ungarisch  (Ger. ). 
Ungeduldig  (Ger.). 
Ungestiim  (Ger.). 
Unison.       Sounds 


Passing  and  changing 

Hungarian. 

Impatiently. 

Impetuous ;   con  impeto. 

consisting  of  the  same 
number  of  vibrations  per  second.  Tlie 
term  "unison  passage"  is  applied  to  vocal 
or  instrumental  parts  in  the  octave  also. 

Unisono  (It.)  [oo-nee-so-no).      Unison. 

Unisson  (Fr. )  [oo-nis-so/ig).      Unison. 

Un  poco  (It.).     A  little. 

Un  pochino  (It.)  {po-kee'-no),  Un  pochet- 
tino  i^po-ket-tee'-tto).      A  very  little. 

Unruhig  (Ger.)  (oon-roo' -ig\     Restless. 

Unschuldig  (Ger.)  [oon-shool-dig).  Inno- 
cent. 

Up-bow.  In  violin  playing  the  motion  of 
the  bow  from  the  point  to  the  nut.  The  sign 
is  V ;   the  down-bow    1_|    . 

Ut  (Fr.)  {oot).  The  note  C  ;  the  first  of  the 
Aretinian  syllables,  changed  in  Italy  to  do, 
a  better  vowel  sound  for  solfeggio. 

Ut  (Lat.).      As;   like.      Ut  supra,  as  before. 


Urspruch,   Anton. 
1850;   d.  1907. 


Pianist,  composer.      B. 


V.     Abbreviation  of  Violino,  Voce,  Volta. 
V-cello.     Abbreviation  of  Violoncello. 
Via.     Abbreviation  of  Viola. 

Va  (It.).  Go ;  as,  Va  crescendo,  go  on  get- 
ting louder. 

Vacillando  (It.)  [yat-chil-lan'-do).  "Vacil- 
lating." A  direction  to  play  without  strict 
regard  to  time. 

Vago  (It.).      Vague;  dreamy. 

Valce  (It.)  {val-cheK\,  Valse  (Fr.)  {vals). 
Waltz ;  a  dance  of  German  origin  in  \ 
time. 

Vaccaj,  N.  [vak-ka/d-ee).  Composer;  Italy. 
B.  1790;  d.  1848. 


Valse  a  deux  temps  (Fr.)  {doo  fomp).  A 
species  of  waltz  with  two  steps  to  each 
measure. 

Value.  The  value  of  a  note  or  rest  is  its  rela- 
tive duration,  the  standard  being  the  whole 
note  or  rest,  which  may  be  divided  into 
half,  quarter,  eighth,  sixteenth,  thirty-second 
notes,  etc.  The  value  of  a  note  is  increased 
one-half  by  placing  a  dot  after  it ;  a  second 
dot  adds  to  its  value  an  amount  equal  to 
half  that  of  the  first.  The  absolute  value  of 
a  note  depends  upon  the  tempo,  i.  e. ,  rate  of 
movement  of  the  piece  in  which  it  occurs. 


Verdi,    G. 
B.  1S13; 


{vehr'-dee). 
d.  I901. 


Composer;     Italy. 


VALVE 


109 


VIOL 


Valve.     See  Piston. 

Variante  (Fr)  [vuk-i-ee-otigt).  A  variant; 
other  reading. 

Variations,  Variationen  (Ger. )  [fah-ree-a- 
tse-o'-nen),  Variazioni  (It.)  [va-ree-cit-zee- 
o'-nee).  Melodic,  rhythmic,  and  harmonic 
modifications  of  a  simple  theme,  each  one 
more  elaborate  than  the  last. 

Varie  (Fr.)  (i>ah-ree),  Variato  (It.)  [t'ar- 
ya'-td).     Varied;    with  variations. 

Varsovienne  (Fr.)  [var-so-vee-eji),  Varso- 
vianna  (It.)  \z>ar-so-vee-an'-7ia).  A  dance 
in  \  time  resembling  the  mazuika,  invented 
in  France. 

Vaudeville  (Fr.)  {vode-veel^.  A  light  oper- 
etta consisting  of  dialogue  interspersed  with 
songs ;  the  name  is  said  to  come  from  V^au-x 
de  Vire  in  Normandy. 

Veemente  (It.)  {vek-eh-men' -teh).  Vehe- 
ment ;   forceful. 

Veemenza    (It.)    (z'eh-eh-nien'- tzii),   con. 

With  vehemence. 
Velato    (It.)    (zieh-la¥-to).  Voce  velato,  a 

veiled  voice,  /.  e. ,  lacking  in  clearness  and 

resonance. 

Vellutata  (It.)   {vel-loo-tah' -tah).      Velvety; 

smooth. 
Veloce   (It.)   (I'eh-lo'-cheh).       Rapid;    swift. 

Velocissimamente  (It.)  (z<eh-lo-chis-see-i)ia- 
incn'-teh).     Very  swiftly. 

Velocissimente  (It)  (veh-lo  -  chis-see-?nen'- 
teh).     Swiftly. 

Velocita  (It.)  [yeh-lo'-chee-tah),  con.  With 
rapidity. 

Ventage.  The  holes  in  the  tubes  of  wind 
instruments,  the  opening  or  closing  of 
which  by  the  finger-tip  or  by  valves  worked 
by  keys  alters  the  pitch  by  varying  the 
sounding  length  of  the  tube. 

Ventil.  (i)  Valve;  piston.  (2)  In  the 
organ  a  contrivance  for  cutting  off  the  wind 
from  a  part  of  the  organ. 

\^T)M%\.o  (\\..'){veh-noos'-to).    Graceful;  fine. 

Veranderungen  (Ger. )  {fer  -  an'-  de  -  roong- 
en).     Variations. 

Vergniigt  (Ger.)  i^fehr-gneegt' ) .  Pleasant; 
cheerful. 

Verhallend  (Ger.).      See  Morendo. 

Vestris,  L.  E.  Alto;  England.  B.  1797; 
d.  1856. 

Viadana,  L.  {vee-ah-dah'-nali).  Composer; 
Italy.      B.  1565  ;  d.  164-. 

Viardot-Garcia,  M.  F.  P.  {z'ee-ar'-do- gar- 
she-a).  Composer,  soprano.  B.  1821 ;  d. 
1910. 

Vieuxtemps,  H.  {i^ee-oo-tom).  Composer, 
violinist;    France.      B.   1820;  d.  1881. 

Vilbac,  A.  C.  R.  Composer,  pianist ;  France. 
B.  1829;  d.  1884. 


Verloschend  (Ger.)  [fe/ir-ksh'-end).  See 
Morendo. 

Vermittelungsatz  (Ger.)  [fehr-mit' -tel-ootik- 
sotz).  A  subsidiary  part ;  episode  in  sonata, 
etc. 

Verschiebung  ( Ger. )  {fehr  -  shee'-  boonk), 
mit.      Use  "soft  pedal." 

Verschwindend  (Ger.)  {fehr-shwin'-dend). 
Dying  away. 

Versetzung  (Ger.)  (^fehr-set'-soonk).  Trans- 
position. 

Verspatung  (Ger.)  {fe/ir-spay' -toottk),  Ver- 
weilend  [fehr  -  wei'-  lent ) ,  Verzogernd 
{^fehr-tseh'-gernt).     Delaying;   retardmg. 

Verve  (Fr.)  [vehrv).  Spirit.  Avec  verve, 
with  spirit. 

Verzweiflungsvoll    (  Ger.  )     (  fehr  -  tsvy '  - 
Jioonks-foll).        Lit.,    full    of    desperation. 
Despairingly. 

Vezzoso  (It.)   {vets^so'-so),  Vezzosamente 

[vets-so-sa-iiien'-teh).      Beautiful;   graceful; 
gracefully. 

Vibration.  The  rapid  motion  to  and  fro  that 
produces  the  phenomena  of  sound  by  .setting 
up  a  wave-motion  in  the  air. 

Vibrato  (It.)  [z'ee-bi-ali'-to),  Vibrante  (I'ee- 
bran' -  teh).  "Vibrating"  with  strong, 
"  intense  "  tone  ;  vocal  music,  heavy  accent 
in  piano  playing. 

Viel  (Ger.)  {feel).      Much;  many. 
Wie\\&  [Yr.)  {vee-el').     Rote;  hurdy-gurdy. 
Vier  (Ger.)  [feer).     Four. 
Vierstimmig.       Four  -  voiced.        Vierfach, 

fourfold. 
Vif(Fr.).     Lively. 
Vigorosamente  (It.)  (vee-go-ro-sa-nien' -teJi). 

Vigorously ;   boldly. 
Vigoroso  (It.)  (7:'('^-_^(3-r6'''-5(').     Vigor;   force. 

Villancico  (Sp.)  {veel-lan'-thee-co).  Origi- 
nally a  species  of  song  or  madrigal,  later  a 
motet  sung  in  church  at  certain  services. 

Villanella  (It.).  An  ancient  Italian  folk- 
song. 

Viol.  The  precursor  of  the  violin.  Viols 
were  made  in  sets  of  six  called  a  "  chest  of 
viols;  "  the  smallest  was  about  the  size  of 
the  modern  viola,  and  all  were  provided 
with  frets. 

Villaume,  J.  B.  {vee-yotiie).      Violin  maker; 

France.      B.  1798;  d.  1875. 
Villaume,   N.   (nephew  of  J.    B.).       Violin 

maker;   France.      B.  1800;  d.  1871. 
Villaume,  N.  F.  (nephew  of  J.  B.).     Violin 

maker;   France.     B.  1812  ;  d.  1876. 
Villaume,    S.    (nephew    of    J.    B.).      Violin 

maker;    France.      B.  1835  ;  d.  1875. 
Viotti,  G.  B.  (vee-ot'-tee).      Composer,  violip- 

ist ;    Italy.      B.  1753;  d.  1S24. 


VIOLA 


110 


VOLTA 


Viola.  The  alto  violin,  generally  called  the 
tenor.  The  viola  is  slightly  larger  than  the 
violin,  and  has  four  strings  tuned  as  fol- 
lows : — 


_i22_ 


is: 


Music  for  it  is  written  with  the  C  clef  on  the 
third  line. 

Viola  da  braccia  (arm  viola),  Viola  da 
gamba  (leg  viola),  Viola  da  spalla 
(shoulder  viola),  Viola  pomposa.  Obso- 
lete varieties  of  the  viola  family.  The  last 
was  the  invention  of  Sebastian  Bach. 

Viole  (Fr.).     Viola. 

Viola  d'amour  (Fr.)  {d'ah-moor),  Viola 
d'amore  (It.)  \d^ ah-mo-reli).  A  variety 
of  the  viola  with  wire  sympathetic  strings 
in  addition  to  the  usual  gut  strings. 

Violin,  Violon  (Fr.),  Violino  (It.),  Fiddle, 
Geige  iGer. ).  The  words  "violin"  and 
"  fiddle  "  both  come  from  the  Latin  I'ittila  or 
Jituln,  a  mediiieval  form  of  string  instrument 
played  with  a  bow.  The  violin  has  four 
strings,  tuned  as  follows  : — 


I 


-g" 


-g»- 


t/  


-^' 


The   strings   are  of   gut,  the  lowest,  or  G 
string,  covered  with  thin  wire. 

Violin  Clef.     The  G  clef  ffi  on  the  second 

line.  ^ 

Violina.     A  4-foot  organ-stop  with  string-like 

tone. 
Violino  principale  (It. )  {prin-chee-pah' -leli). 

The  solo  violin,  or  leader  of  the  violins. 

Violino  ripieno.  A  violin  part  only  used  to 
till  up  the  tutti. 

Violoncello  (It.).  The  "little  violone." 
The  violoncello  has  four  strings  of  gut, 
tuned  an  octave  below  the  viola : — 

«> — 


-«>- 


-6^ 


■i9- 


The  C  and  G  strings  are  covered  with  wire. 

Violonar  (Fr.).      Double  bass. 

Violonaro  (Fr. ).      See  Octo  Bass. 

Violone  (It.).      The  double  bass,  q.  v. 

Virgil  Clavier.  A  soundless  keyboard  for 
practice. 

Virginal.  A  small  instrument  of  the  harpsi- 
chord family. 

Vivier,    E.    L.    (vee-vee-eJi).       Horn    player; 

Corsica.      B.  1821. 
Vogl,  Heinrich       Tenor;   Bavaria.    B.  1845  ; 

d.  1900. 
Vogl,  Iheresa  (wife  of  II.).     Soprano.     B. 

1846. 


Virtuoso  (masc.)  (It.)  {vir-too-o'-so),  Virtu- 
osa  (fem.)  (T.nr-too-o'-sah).  An  eminent 
skilled  singer  or  player.  The  word  was 
formerly  used  in  the  same  sense  as  "  ama- 
teur." 

Virtuos  (Ger.),  Virtuosin  (fem.)  (Ger. j, 
Virtuose  (Fr.).     Virtuoso. 

Vista  (It.).  Sight.  A  prima  vista,  at  first 
sight. 

Vistamente  (It.)  {vis-tah-tneii'-teh),  Vita- 
mente  (It.)  [vee-tah-inen' -teh),  Vive  (Fr.) 
(7W7') ,  Vivente  (It. )  ( vee  -  ven'  -  teh  ) , 
Vivido  (It.)  [vee^-vee-iio),  Vivezza  [vee- 
7>et-za) ,  con.  Lively  ;  briskly  ;  with  anima- 
tion ;   vividly. 

Vivace  (It.)  (vee-vaJi'-cheh'),  Vivacemente 
{vee-vah  -  cheh  -  men' -  teh),  Vivacita  \vee- 
vah'-ckee-ta/i),  con,  Vivacezza  (jiee-vah- 
chet'-zah).  Lively;  rapid;  with  anima- 
tion ;   with  vivacity. 

Vivacissimo  (z'ee-vah-chis'- see-mo).  Very 
lively  and  fast. 

Vivo  (It.)  (I'ee-vo).      Alive;  brisk. 

Vocal.  Belonging  to  the  voice  ;  music  meant 
to  be  sung  or  well  designed  for  singing. 

Vocalion.  A  variety  of  reed  organ  in  which 
the  quality  and  power  of  the  tone  is  much 
modified  by  resonators. 

Vocalise  (Fr.)  {z'o-cal-ees),  Vocalizzi  (It.) 
{vo-cah-lit'-zee).     Vocal  exercises. 

Vocalization.  (l)  The  manner  of  singing. 
(2)  The  singing  of  studies — solfeggio — to 
one  or  more  vowel  sounds. 

Voce  (It.)  {vo-cheli).     The  voice. 

Voice.  (l)  The  sound  produced  by  the 
•  human  organs  of  speech.  (2)  A  part  in  a 
polyphonic  composition.  There  are  three 
well-marked  varieties  of  the  '  male  and 
female  voice.  Male  voices  are  divided  into 
bass,  baritone,  and  tenor;  the  analogues  in 
the  female  voice  are  alto,  mezzo-soprano, 
and  soprano. 

Voicing.  Regulating  the  quality  and  power 
of  the  tone  of  organ-pipes. 

Voix  (Fr. )  (iio-a).     Voice. 

Voix  celeste  (Fr.).     Vo.x  angelica. 

Volante  (It.)  (7','-/(?«'-/^//).     "Flying."    The 

rapid,  light  execution  of  a  series  of  notes. 
Volkslied    (Ger.)    {folks  -  leed).       Popular 

song. 
Voll  (Ger.)  {foil).    Full. 
Volonte  (Fr.)   [vo-lon-teh),  A  volonte.     At 

will ;   a  piacere. 
Volta  (It.).      Turn.       Una  volta,  first  turn 

or  first  time. 

Vogl,  J.  M.      Baritone.      B.    1768;   d.    1840. 
Volckmar,    Wil.    {folk'-  mar).       Composer, 

organist;   Germany.      B.  1812;  d.  1887. 
Volkmann,  F.  R.  {folk' -man).     Composer; 

Bohemia.      B.  1815  ;  d.  1S83. 


VOLTI 


111 


WIND  BAND 


Volti  (It.)  {vol-tee)  (verb).  Turn.  Volti 
subito,  abbreviated  V.  S.,  turn  over  (the 
page)  rapidly. 

Voluntary.  An  organ  .solo  before,  during, 
or  after  church  service,  frequently  extempo- 
rary. 

Vordersatz  (Ger. )  (^for'-der-sots).  Princi- 
pal theme;   sonata. 

Vorspiel  (Ger. )  (yiT-j/^^-/).  Prelude;  over- 
ture ;  introduction. 

Vogler,  Abbe  G.  J.  Composer,  organist, 
writer;  Germany.     B.  1749;  d.  1814. 


Vox  (Lat.).      Voice. 

Vox   celestis,  Vox  angelica.      See    Unda 

maris. 
Vox  humana.     An  organ-stop  imitating  the 

human  voice.     (Fr.,  V'oix  humane). 

Vuide  (Fr.)  {i>oo-eed),  Vuoto  (It.)  {voo-o-to). 
Open.  Corde  vuide,  Corda  vuide,  open 
string,  /.  e.,  a  string  of  instruments  of  violin 
family  sounded  without  being  touched  by 
the  finger. 

Voss,  Carl.  Pianist;  Poland.  B.  1815;  d. 
1882. 


w 


■Waits,  Waytes,  Waightes.  Watchmen 
who  "piped  the  hours"  at  night  on  a 
species  of  hautboy  called  a  wait,  or  shawm. 
In  modern  times  "Christmas  waits"  are 
parties  of  singers  who  go  from  house  to 
house  collecting  pennies  on  Christmas  Eve. 

Waldflote  ((ler.)  [volt -Jiay  -  teh).  Forest 
flute ;  a  4-foot  open  organ-stop.  Wald- 
quinte  is  a  12th  with  the  same  tone  quality. 

Waldhorn  (Ger.).  Forest  horn;  hunting 
horn  ;   the  French  horn  without  valves. 

Waltz.     See  Valse. 

Walze  (Ger.)  [vol'-tseJi).  A  run,  alternately 
ascending  and  descending;   a  "roller." 

Wankend  (Ger.).     Hesitating. 

Warme(Ger. )  (j'ekr'-meh).   Ardor;  warmth. 

Wehmut  (Ger.)  (yeh'-moot).     Sadness. 

■Wehmiitig  (Ger.).     Sad;  melancholy. 

Welch  (Ger.).     Weak;  soft;   minor. 

Weinend  (Ger.).     Weeping;  lamenting. 

Wachtel,  Theodor.  Tenor ;  Germany.  B. 
1823;   d.  1895. 

Wagenseil,  G.  C.  [vah'-gen-sile).  Com- 
poser, pianist.    Austria.     B.  1715  ;  d.  1777. 

Wagner,  W.  Richard.  Composer ;  Ger- 
many.     B.  1813  ;   d.  1883. 

Wagner,  Johanna  (niece  of  R.).  Soprano; 
Germany.      B.  1828;  d.  1894. 

Wallace,  Wm.  V.  Composer,  pianist ;  Ire- 
land.    B.  1814;  d.  1865. 

Warren,  S.  P.  Composer,  organist,  pianist; 
Canada.      B.  184I. 

Webbe,  Sam.  Composer,  organist ;  Minorca. 
B.  1740  :  d.  1816. 

Webbe,  Sam  (son  of  first).  Composer, 
organist;   England.      B.  1770 ;  d.  1843. 

Weber,  Aloysia  [veh-her).  Soprano;  Ger- 
many.    B.  1750  ;  d.  1839. 

Weber,  Carl  M.  von.  Composer;  Germany. 
B.  1786;  d.  1826. 

Weber,  Gottfried.  Theorist ;  Germany.  B. 
1779;  d, 1839. 


Well-tempered  (Wohltemperiertes)  Cla- 
vier (Ger.).  A  title  given  by  Bach  to  a  set 
of  preludes  and  fiigues  in  all  the  keys.  See 
Ternperanieitt. 

Wenig  (Ger.).     Little;  un  poco. 

Whistle.  A  small  flue-pipe  or  flageolet ; 
the  first  step  in  advance  of  the  pandean 
pipe,  /.  <?.,  a  tube  blown  across  the  top. 

Whole  Note  O . 

Whole  Step.     A  whole  tone. 

Wie  (Ger. ).  As;  the  same.  W^ie  vorher, 
as  before. 

Wiederholung  (Ger.)  {wee-dehr-ho' -loonk). 
Repetition. 

Wiegenlied  (Ger.)  {wee'gen-leed).  Cradle 
song  ;   berceuse. 

Wind  Band,  (i)  The  wind  instruments  in 
the  orchestra.  (2)  A  band  composed  of 
wind  instruments  only,  called  also  a  har- 
mony band. 

Wehle,  Carl  {veh'-/e/i).  Pianist;  Bohemia. 
B.  1825;  d.  1887. 

Weigl,  Joseph.  Composer ;  Austria.  B. 
1766 ;  d.  1846. 

Weigl,  Thad.  (brother  of  J.).  Composer; 
Germany.      B.  1777;  d.   182-. 

Weitzmann,  C.  F.  (vites' -man).  Theorist ; 
Germany.     B.  1808;  d.  1880. 

Wesley,  S.  S.  Composer,  organist ;  Eng- 
land.    B.  1810;   d.  1876. 

Whiting,  Geo.  E.  Composer,  organist ;  U. 
S.  A.     B.  1842. 

Widor,  Ch.  M.  (vee-dor).  Composer,  organ- 
ist ;   France.      B.  1844. 

Wieck,  Fred.  Pianist,  writer;  Gei-manv. 
B.  1785  ;  d.  1875. 

Wieniawski,  H.  [vee-nee-av' -skee).  Violin- 
ist, composer;   Poland.     B.  1835  ;  d.  1880. 

Wilhelmj,  A.  E.  D.  F.  V.  {vil-hel'-mce). 
Violinist;  Germany.      B    1845;  d.  1908. 

Willaert,  Adrien.  Composer;  Belgium.  B. 
1490;  d.  1562. 


WOLP^ 


112 


ZWISCHENSPIEL 


Wolf.  (l)  The  dissonant  effect  of  certain 
chords  on  the  organ  or  pianoforte  tuned  in 
unequal  temperament.  See  Tevipet-atnent. 
(2)  Certain  notes  on  the  violin  or  other  bow 
instruments  that  do  not  produce  a  steady, 
pure  tone. 

Wood-stops.  Organ-stops  with  wooden 
pipes. 

Willmers,  H.  Rudolf.       Composer,   pianist ; 

Germany.     B.  1821  ;  d.  1878. 
Woelfl,    Jos.    {veiji ).      Pianist,    composer; 

Austria,     li.  1772;  d.  1814. 


Wood-wind.      The    flute,    oboe,    clarionet, 
and  fagotto  in  the  orchestra. 

Wuchtig  (Ger. ).     Weighty;    emphatic. 

Wiirde  (Ger.).     Dignity.     Mit  Einfalt  und 
Wvirde,  with  simplicity  and  dignity. 

Wiitend  (Ger.).     Raging;  furioso. 


WoUenhaupt,  H.  A.  [vol' -  leu  -  hotvpi). 
Composer,  pianist;  Germany.  B.  1827 ; 
d.  1863. 

Wraniczky,  Paul  {rah-nW-  skee).  Com- 
poser; Moravia.     B.  1756;  d.  1808. 


Xylophone,  Strohfiedel  (Ger.),  Claquebois 
(Fr.),  Gigelira  (It.).  An  instrument  con- 
sisting of  strips  of  wood  graduated  to  pro- 
duce the  diatonic  scale.  They  are  supported 
on  ropes  of  straw,  etc. ,  and  are  struck  by 
hammers  held  one  in  each  hand.  An 
ingenious  form  of  the  xylophone  is  found  in 
Africa,  called  the  marimba.  From  Africa  it 
was  brought  to  South  America,  where  it  has 
been  greatly  enlarged  by  the  Negroes  of 
Guatemala. 

Yodel.     See  Jodel. 

Zampogna  (It.)  [zam-pone'-ya).  A  bag- 
pipe ;   also  a  harsh-toned  species  of  hautboy. 

Zapateado     (  Sp.  )      ( tha  -pah  -  te  -  a'  -  do). 

"Stamping."     A  Spanish  dance  in  which 

the  rhythm  is  marked  by  stamping. 
Zarabanda     (Sp.)     (tha-ra  -  ban' -da).       See 

Saraband. 
Zart,   Zartlich   (Ger.).      Tender;    tenderly; 

suave. 
Zartflote  (Ger.).     A  soft-toned  flute  in  the 

organ. 
Zeitmass  (Ger.).     Tempo. 
Z^\o  (\'i.)  [zeh'-lo).      Zeal;   earnestness. 
Zelosamente    (It.)    (zeh-lo  -  sah  -  nien'-teh). 

Earnestly. 
Z.€io%o  \\\..)  [zeh-lo' -so).    Zealous;  energetic. 
Ziemlich   (Ger.)  [tseevt'-lich).      Moderately. 

Ziemlich  langsam,  moderately  slow. 
Ziganka.    A  Russian  peasant  dance  in  \  time. 

Yriarte,  S.  [e-ree-ar' -teh).  Writer;  Tene- 
riffe.      B.  1750 ;  d.  179I. 

Ysaye,  E.  [e-sah'-ee).  Violinist;  Belgium. 
B.  1858. 

Zachau,  F.  W.  [tsah-coac).  Composer,  organ- 
ist;   Germany.     B.  1663;   d.  1717. 

Zandt,  Marie  van.  Soprano  ;  U.  S.  A.  B. 
1861. 

Zarlino,  G.  [zar-lee'-no).  Composer,  theo- 
rist;   Italy.      B.  1517;  d.  1590. 

Zelter,  Carl  F.  Composer,  writer ;  Germany. 
B.  1758;  d.  1832. 


Y        Z 

Zimbalon,  Cymbal,  Czimbal.  The  Hun- 
garian dulcimer. 

Zingaresca  (It.)  [zin-gah-res'-ca),  Zigeu- 
nerartig  (Ger.)  [tsee-goy'-ner-ar-tig).  In 
Gypsy  style. 

Zinke  (Ger.).  Cornet;  an  obsolete  variety 
of  hautboy. 

Zither  (Ger.)  [tsit'-ter).  A  string  instrument 
consisting  of  a  shallow  box  over  which  pass 
two  sets  of  strings, — one  set  of  gut  for  the 
accompaniment,  the  other,  of  steel  and  brass, 
pass  over  a  fretted  fingerboard  ;  on  these 
the  melody  is  played.  The  notes  are 
stopped  by  the  left  hand,  and  the  melody 
strings  are  struck  by  a  plectrum  attached  to 
a  ring  on  the  thumb  of  the  right  hand  ;  the 
accompaniment  is  played  by  the  first, 
second,  and  third  fingers  of  the  right  hand. 

Zitternd  (Ger.).     Trembling. 

Zogernd  (Ger. ).      Hesitating;  retarding. 

Zoppo  (It.).  Lame.  Alia  zoppo,  halting  ; 
limping;   syncopated. 

Zukunftsmusik  (Ger.).  Music  of  the  future. 
The  music  of  Wagner  and  his  disciples  is 
thus  called  by  both  friend  and  enemy,  but 
with  different  meanings. 

Zunehmend  (Ger.).     Crescendo. 

Zuriickhaltend  (Ger.)  [tsoo-reek' -hal-tend). 
Retarding. 

Zwischensatz  (Ger.).     An  episode. 

Zwischenspiel  (Ger.).  "  Between  play ;  " 
interlude. 

Zerrahn,  Carl.  Conductor ;  Germany.  B. 
1826. 

Zeuner,  Ch.  [tsoy'-ner).  Organist;  Ger- 
many.    B.  1797  ;  d.  1857. 

Zimmermann,  Agnes.  Composer,  pianist ; 
(jermany.      B.  1847. 

Zingarelli,  N.  A.  [zing-ah-rel'-lee).  Com- 
poser;  Italy.      B.  1752;   d.  1837. 

Zumsteeg,  J.  R.  Composer,  'cellist ;  Ger- 
many.     B.  1760  ;   d.  1802. 

Zundel,  Johann.  Composer,  organist ;  Ger- 
many.     B.  1815  ;  d.  1882. 


ENGLISH  WORDS   IN    CONSTANT   USE,  WITH    THEIR    EQUIVA- 
LENTS  IN   ITALIAN,  FRENCH,  AND  GERMAN. 


A.     La  (Fr.  and  It.).     A  (Ger.). 

A  Flat.     La  bemol  (Fr.).     La  bemolle  (It.). 

As  (Ger.). 

A  Sharp.     La  diese  (Fr.).     La  diesis  (It.). 

Ais  (Ger.). 
A  Major.      La  majeur  (Fr.).      La  maggiore 

(It.).     Adur(Ger.). 

A  Minor.    La  mineur  (Fr.).    La  minore  (It.). 
A  moll  (Ger.). 

Accelerate.     See  Growing  Faster. 

Accidental. 

Accidente  (It.). 
Accident  (Fr. ). 
Zufalliges  Zeichen  (Ger.). 

Accented. 

Marcato  ;    Ben  marcato  (It.). 

Marque;   Bien  marque  (Fr.). 

Betoiit ;   Markiert  (Ger.). 
Accompaniment. 

Accompagnimento  (It.). 

Accompagnement  (Fr. ). 

Begleitung  (Ger.). 

Affectionately.     See  Tender. 

Again. 

Ancora;  Ancor  (It.). 
Encore  (Fr. ). 
Wieder  (Ger.). 

Agility. 

Agilita;  Velocita  (It.);   (used  with  con  = 

with). 
Ilurtigkeit,  (mit)  (Ger.). 

Agitated. 

Agitato  (It.). 

Agite  (Fr.). 

Bewegt ;  Aufgeregt  (Ger.). 
Agreeable. 

Fiacevole  (It.). 

Agreable  (Fr. ). 

Angenehm  (Ger.). 
Air. 

Canto;  Aria  (It.). 

Chant;   Air;   Melodic  (Fr.). 

Weise ;   Lied  (Ger.). 

A  Little  Faster. 

Poco  piu  mosso  (It.). 
Un  peu  phis  vite  (Fr. ). 
Ein  wenig  schneller  (Ger.). 

A  Little  Slower.' 

Poco  meno  mosso  (It.). 
Un  peu  plus  lent  (Fr.). 
Ein  wenig  langsamer  (Ger.). 

All  Together. 

Tutti  (It.). 

8 


Always. 

Sempre  (It.). 
Toujours  (Fr.). 
Immer  (Ger.). 

Always  Loud. 

Sempre  forte  (It.). 

Toujours  fort  (Fr. ). 

Immer  stark  (Ger.). 
And. 

E   (before  a   consonant) ;    ed   (before   a 
vowel)  '(It.). 

Et  (Fr.). 

Und(Ger.). 
Animated. 

Animato;  Vivo;  Con  anima;   Svegliato; 
Resviglialo  (It.). 

Anime  (Fr. ). 

Belebt ;  Aufgeweckt  (Ger.). 

Answer  (in  fugue). 

Riposta;   Consequente  (It.). 

Comes  (Lat.). 

Reponse;    Replique  (Fr.). 

Antwort;  Gefahrte  (Ger.). 
As. 

Come  (It.). 

Comme  (Fr.). 

Wie  (Ger.). 

At  Pleasure. 

A  Piacere  ;   A  bene  placito  (It.). 
Ad  libitum  (Lat.). 
A  volonte  (Fr. ). 
Nach  Belieben  (Ger.). 

B 

B.     Si  (Fr.  and  It.).     H  (Ger.). 

B  Flat.     Si  bemol  (Fr.).     Si  bemolle  (It.). 

B  (Ger.). 
B  Sharp.      Si  diese  (Fr.).      Si  diesis  (It.). 

His  (Ger.). 
B  Major.      Si    majeur    (Fr.).       Si    maggiore 

(It.).      H  dur  (Ger.). 
B  Minor.    Si  mineur  (Fr.).     Si  minore  (It.). 

H  moll  (Ger.). 

Bagpipe. 

Cornemusa;   Sampogna  (It.). 

Cornemuse  (Fr.). 

Sackpfeife ;   Dudelsack  (Ger.). 

Ballad. 

Ballata  (It.). 
Ballade  (Fr.). 
Ballade  (Gen). 

Bar. 

Linea ;    Barra  (It.). 
Barre  (Fr. ). 
Taktstrich  (Ger.) 


113 


114 


Beat. 

Battuta  (It.)- 

Battement  de  niesure,  or  de  temps  (Fr.). 

Taktschlag  (Ger.). 

Beginning. 

Capo;   Principio  (It.). 
Anfang  (Ger.). 

Belly  (of  violin,  etc.). 

Tavola  ;   Pancia  (It. ). 
Table  (Fr.). 
Decke  (Ger.). 

Boat  Song. 

Barcaruolla ;  Gondoliera  (It.). 

Barcarolle  (Fr. ). 

Gondellied  (Ger.). 
Bold. 

Fiero;  Ardito  (It.). 

Fier  (Fr.). 

Heftig  (Ger.). 

Book  (number  or  volume). 
Libro  (It.). 
Cahier  (Fr. ). 
Heft  (Ger.). 

Book  (containing  words  of  opera,  etc.). 

Libretto  (It.). 
Bow. 

Arco  (It.). 

Archet  (Fr.). 

Bogen  (Ger.). 
Bound. 

Legato  (It.). 

Lie  (Fr.). 

Gebunden  (Ger.). 
Bridge. 

Ponticello  (It.). 

Chevalet  (Fr. ). 

Steg  (Ger.). 

By  Degrees. 

Poco  a  poco  (It.). 

Peu  a  peu  (Fr.). 

Nach  und  nach  ;   Allmahlich  (Ger.). 

c 

C.     Ut  (Fr.).     Do  (It.).     C  (Ger.). 

C  Flat.     Ut  bemol  (Fr.).     Do  bemolle  (It.). 
Ces  (Ger.). 

C  Sharp.      Ut  diese  (Fr.).     Do  diesis  (It.). 
Cis  (Ger.). 

C  Major.     Ut  majeur  (Fr. ).      Do  maggiore 
(It.).     Cis  dur  (Ger.). 

C   Minor.       Ut  mineur  (Fr.).       Do   minore 

(It.).      Cis  moll  (Ger.). 
Calm. 

Calmato ;    Tranquillo  (It.). 

Ruhig  (Ger.). 
Caprice. 

Capriccio  (It.). 

Caprice  (Fr.). 

Grille  (Ger.). 
Coquettishly 

Con  civetteria  (It.) 


Cradle  Song. 

Ninnerella  (It.). 
Berceuse  (Fr. ). 
Wiegenlied  (Ger.). 

D 

D.     Re  (It.).     Re  (Fr.).     D  (Ger.). 

D  Flat.     Re  bemolle  (It.;.     Re  bemol  (Fr.). 
Des  (Ger.). 

D  Sharp.     Re  diesis  (It.).     Re  diese  (Fr.). 

Dis  (Ger.). 
D   Major.     Re  maggiore  (It.).      Re  majeur 

(Fr.).      D  dur  (Ger.). 

D  Minor.      Re    minore    (It.).      Re   mineur 
(Fr.).      D  moll  (Ge;.). 

Decided. 

Deciso;   Risoluto  (It.). 

Avec  decision  (Fr. ). 

Bestimmt ;    Entschlossen  (Ger.). 

Decreasing   (in  movement).       See  Growing 

S/o7uer. 

Decreasing    (in    loudness).       See    Grcnuing 

Softer. 
Decreasing    (in    movement    and   loudness). 

See  Growing  Softer  and  Sloiuer. 
Detached. 

Staccato;   Spiccato  (It.). 
Detache  (Fr.). 
Abgestossen  (Ger.). 

Distinctly.     See  Accented. 

Divided. 

Divisi  (It.). 
Divise  (Fr.). 
Doleful. 

Con  dolore;  Tristamente  ;   Mesto  (It. ). 
Dying  Away. 

Morendo  ;      Espirando  ;      Estinguendo  ; 

Sminuendo ;    Smorendo  ;    .Smorzando  ; 

Mancando  ;   Diminuendo  (It. ). 

Schwindend  ;       Sterbend  ;      Verhallend  ; 

Verloschend  ;    Verschwindend   (Ger. ). 


E.     Mi  (It).     Mi(Fr.).     E  (Ger.). 

E  Flat.     Mi  bemolle  (It.).     Mi  bemol  (Fr.). 
Es  (Ger.). 

E  Sharp.     Mi  diesis  (It.).     Mi  diese  (Fr.). 
Eis  (Ger.). 

E  Major.      Mi  maggiore  (It.).     Mi  majeur 
(Fr.).      E  dur  (Ger.). 

E  Minor.      Mi   minore    (It.).   ,    Mi   mineur 

(Fr.).      P:  moll. 
Easy. 

Facile  (It). 

Facile  (Fr. ). 

Leicht  (Ger.). 

Emphatic. 

Marcato ;   Sforzato  (It.). 

Bien  marque;    Bien  rhythme  (Fr.). 

Betont  (Ger.). 


115 


End. 

Fine  (It.). 

Fin  (Fr.). 

Schluss  (Ger.). 
Equal. 

Eguale  ;   Spianato. 
Even,  Evenly.     See  Equal. 
Emotion. 

Emozione  (It.). 

Emptindung;  Ergriffenheit ;  Gefiihl;  In- 
nigkeit  (Ger.). 
Exercise. 

Exercizio  (It.). 

Exercice  (Fr.). 

Uebung  (Ger.). 

Expression. 

Espressione  (It.)  (con  ^=  with). 
Expression  (Fr.)  (avec=  with). 
Ausdruck  (Ger.)  (mit  =  with). 
Extreme,  Extremely. 

Molto;   Di  molto  (It.). 

Tres  (Fr.). 

Sehr;  Ausserst  (Ger.). 

F 

F.     Fa  (It.).     Fa  (Fr.).     F  (Ger.). 

F  Flat.     Fa  bemolle  (It.).     Fa  bemol  (Fr.). 
Fes  (Ger.). 

F  Sharp.     Fa  diesis  (It.).      Fa  diese  (Fr.). 

Fis  (Ger.). 
F   Major.      Fa  maggiore  (It.).      Fa  majeur 

(Fr.).     Fdur(Ger.). 

F    Minor.      Fa    minore    (It.).       Fa    mineur 
(Fr.).      Fmoll  (Ger.). 

Fading  Away.      See   Grotving  Softer  and 

Slower. 
Fast. 

Allegro;  Vivace;  Vivo;  Presto  (It. ). 

Vif  (Fr.). 

Rasch ;     Schnell ;     Geschwind ;     Hurtig 
(Ger.). 
Faster. 

The  words  above  with  Piu  before  them  : 

Piu  mosso  (It.). 

Plus  vif  (Fr.). 

Schneller ;    Rascher  (Ger.). 

Faster  by  Degrees.      See  Growing  Faster. 
Faster  and  Louder. 

Stringendo ;      Affrettando ;       Incalzando 
(It.). 

Starker  und  schneller  (Ger.). 
Festive. 

Festive  (It.) 

Feierlich  (Ger.). 
Fiery. 

Con  fuoco;  Con  calore  (It.). 

Avec  ardeur  (Fr.). 

Peuerig  (Ger.). 

First  Part  or  Voice. 
Primo  (It.). 
Premier  (Fr.). 
Erste  (Ger.). 


Flowing. 

Scorrendo  (It.). 

Forcibly. 

Con  forza  (It.). 

Avec  force  (Fr. ). 

Mit  Kraft;  Kraftig  (Ger.). 
Forcing. 

Forzando ;   Sforzando ;   Sforzato  (It.), 

From. 

Da  (It.). 

From  the  Beginning. 
Da  capo  (It.). 
Vom  Anfang  (Ger.). 

From  the  Sign. 

Dal  segno  (It.). 

From  the  Beginning  to  the  Sign. 

Da  capo  al  segno  (It.) 

From  the  Beginning  to  the  End. 

Da  capo  al  line  (It.). 
Furious. 

Furioso;  Con  furia  (It.). 
Wiitend  (Ger.). 


G.     Sol  (It.).     Sol  (Fr.).      G  (Ger.). 

G  Flat.    Sol  bemolle  (It.).    Sol  bemol  (Fr.). 
Ges  (Ger.). 

G  Sharp.     Sol  diesis  (It. ).     Sol  diese  (Fr.). 
Gis  (Ger.). 

G  Major.      Sol  maggiore  (It.).     Sol  majeur 
(Fr.).     G  dur  (Ger.). 

G  Minor.      Sol    minore   (It.).      Sol   mineur 
(Fr.).     G  moll  (Ger.). 

Gay. 

Giojoso  (It.). 

Gal  (Fr.). 

Frohlich  ;   Heiter ;  Munter  (Ger.). 

Gondola  Song. 

Gondoliera  (It.). 
Gondellied  (Ger.). 

"  Going." 

Andante  (It). 
Gehend  (Ger.). 

Graceful. 

Grazioso  ;   Con  grazia  (It.). 
Avec  grace  (Fr.). 
Lieblich  (Ger.). 

Gradual.     See  By  Degrees. 

Grand. 

Grandiose;   Nobile  (It.). 
Grand  (Fr.). 
Erhaben  (Ger.). 

Growing  Faster. 

Accelerando  ;       Calcando  ;       Pressante  ; 

Pressando    il    tempo ;     Ravvivando    il 

tempo  (It.). 
En  serrant;   Pressez  (Fr.). 
Belebend ;  Eilend  ;  Drangend  ;  Treibend 

(Ger.). 


116 


Growing  Louder. 

Crescendo;   Piu  forte  (It. )• 
Anwachsend ;     Gesteigert ;     Zunehmend 
(Ger.). 
Growing  Softer. 

Decrescendo;    Diminuendo;    Diluendo; 

Perdendo;   Perdendosi  (It.). 
Abnehmend  ;   Abschwellend  (Ger.). 
Growing  Slower. 

Rallentando ;  Ritenuto  ;  Ritardando  ; 
Relasciando;  Rimettendo ;  Ritenendo; 
Slargando  ;  Slentando  ;  Stiracchiato  ; 
Stirato;  Trattenuto  (It.). 
Schleppend ;  Verweilend  ;  Zogernd ; 
Zuriickhaltend  (Ger.). 
Growing  Slower  and  Softer.      See  Dying 

A'oay. 
Growing  Louder  and  Faster. 
Stringendo ;  Incalzando  (It.). 

H 

Half. 

Mezzo  (It.). 

Demi  (Fr.). 

Halb  (Ger.). 
Hastening.     See  Grcnving  Faster. 
Heartfelt. 

Affetuoso  ;   Con  affetto  (It.). 

Herzlich ;    Innig  (Ger.). 
Held  Back. 

Ritenuto  (It.). 

Retenu  (Fr. ). 

Zuriickhaltend  (Ger.). 
Held,  Held  Down. 

Tenuto  (It.). 
Hurrying.     See  Groiving  Faster. 

1 
Impetuous. 

Impetuoso  ;    Con  impeto  ;    Con  slancio  ; 
Smanioso ;   Smaniante  (It.), 

Ungestiim  (Ger.). 
In  Haste. 

Con  fretta  (It.). 
In  the  Same  Manner. 

Simile  (It.). 
In  the  Same  Time. 

L'istesso  tempo  (It.). 

Au  meme  temps  (Fr. ). 

Dasselbe  Zeitmass  (Ger.). 
In  Time. 

A  tempo  (It.). 
In  the  Previous  Time. 

A  tempo  primo  (It.). 

In  vorigem  Zeitmass  (Ger.). 
Increasing.     See  Grooving  Faster ;   Growing 
Louder  \     Growing   Softer;     Growing 
Slower. 


Jestingly. 

Scherzando  (It.). 
Launig  (Ger.). 


Joyously,  Jubilant. 

Giojoso ;  Giubiloso  (It.). 

PVohlich  ;   Freudenvoll ;  Jubelnd  (Ger.). 


Lamenting. 

Piangendo ;   Lamentoso  (It.^ 
Left  Hand. 

Mano  sinistra  (It.). 
Main  gauche  (Fr. ). 
Linke  Hand  (Ger.). 

Less. 

Meno  (It.). 

Lightly. 

Leggiero  ;   Con  legerezza  (It.) 

Little  by  Little.     See  By  Degrees. 

Lively.     See  Animated. 

Longing. 

Desiderio  (con)  (It.). 
Sehnsucht  (mit)  (Ger.). 

Loud. 

Forte  (It.). 
Fort  (Fr.). 
Stark  (Ger.). 

Louder. 

Piu  forte  (It.). 
Plus  fort  (Fr.). 
Starker  (Ger.). 

Loud,  Always. 

Sempre  forte  (It.). 
Toujours  fort  (Fr. ). 
Imnier  stark  (Ger.). 

Loud  as  Possible. 

Forte  possibile  ;  Con  tutta  forza  ^It.). 
Avec  toute  force  (Fr. ). 
Stark  wie  moglich  (Ger.). 

Lullaby.      See  Cradle  Song. 

M 

Majestic. 

Maestoso;  Pomposo  (It.). 
Majesti(|ue  (Fr. ). 
Majestatisch  (Ger.). 

Many-voiced. 

Mehrstimmig  (Ger.). 

Marked.     See  Accented. 

Mark  (Accent)  the  Melody. 

Ben  marcato  la  melodia,  or  il  canto  (It.) 

March. 

Marcia  (It.). 
Marche  (Fr.). 
Marsch  (Ger.). 

Melody. 

Melodia;   Canto  (It.). 
Melodic ;  Chant  (Fr.). 
Melodic  (Ger.). 

Moderate  (in  tempo). 
Moderate  (It.). 
Massig ;  Gemassigt  (Ger.). 


117 


More. 

Pill  (It.). 

Plus  (Fr.). 

Mehr  (Ger.). 
Motion,  Faster. 

Plus  vite  (Fr.). 
Motion,  More. 

Piu  moto  (It.). 
Much. 

Molto  (It.). 

Bien  (Fr.). 

Viel  (Ger.). 


N 


Night-piece. 

Notturno  (It.). 

Nocturne  (Fr.). 

Nachtstiick  (Ger.), 
Not  so  Fast. 

Meno  mosso  (It.). 

Nicht  so  schnell  (Ger.). 
Not  too  Fast. 

Non   troppo  allegro,  or  Presto  ma  non 
tanto  (It.). 

Nicht  zu  schnell  (Ger.). 

o 

Obliged,  Indispensable. 

Obbligato  (It.). 
Oblige  (Fr.). 


Of. 


Or, 


Di  (It.). 

De  (Fr.). 

Von  (Ger.). 

Otherwise. 

Ossia;  Oppure ;  Owero  (It). 


Playful. 

Giocoso;    Scherzoso ;    Scherzando  (It.). 

Plaisant ;   Avec  plaisanterie  (Fr. ). 

Spielend ;        Scherzhaft ;         Leichtfertig 
(Ger.). 
Possible. 

Possibile  (It.). 

Possible  (Fr.). 

Moglich  (Ger.). 
Prayer. 

Preghiera  (It.). 

Priere  (Fr.). 

Gebet  (Ger.). 
Pressing  (the  tempo).     See  Growing  Faster. 
Pronounced. 

Ben  pronunciato  ;   Ben  marcato  (It.). 

Bien  prononce  ;   Bien  marque  (Fr.). 

Sehr  markiert  (Ger.). 
Psalm. 

Salmo  (It.). 

Psaume  (Fr.). , 

Psalm  (Ger.). 


Quiet.     See  Placid. 


R 


Passionate. 

Passionato  ;   Appassionato  (It.). 

Passione  (Fr.). 

Leidenschaftlich  (Ger.). 
Pastoral. 

Pastorale  (It.). 

Pastoral  (Fr.). 

Pastoral  (Ger.). 
Pathetic. 

Patetico  (It.). 

Pathetique  (Fr.). 

Pathetisch  (Ger.). 
Piece. 

Pezzo  (It.). 

Morceau  (Fr.). 

Stuck  (Ger.). 
Placid. 

Placido  (It.). 

Tranquil le  (Fr.). 

Ruhig  (Ger.). 
Plaintive. 

Lamentando  ;  Dolendo ;  Dolente ;  Dolo- 
roso ;  Con  dolore  ;  Flebile  ;  Piangendo 
(It.). 

Avec  doleur  ;   Plaintif  (Fr.). 

Klagend  ;   Traurig  (Ger. ). 


Rapid. 

Rapido  ;  Celere  ;  Veloce  (It.). 

Rapide;   Avec  celerite  ;  Vite  (Fr.). 

Schnell;  Geschwind ;  Rasch  (Ger.). 
Rather. 

Quasi  (It.). 

Etwas  (Ger.). 
Rather  Fast. 

Quasi  presto  (It.). 

Etwas  rasch  (Ger.). 
Religious. 

Religioso ;   Devoto  (It.). 

Devot  (Fr.). 

Religios  (Ger.). 
Right  Hand. 

Mano  destra  (It.). 

Main  droite  (Fr.). 

Rechte  Hand  (Ger.). 


Sad.     See  Plaintive. 
Second. 

Secondo  (It.). 

Second  (Fr.). 

Zweite  (Ger.). 
Singing. 

Cantando  ;  Cantabile  (It.). 

Chantant  (Fr.). 

Singend  (Ger.). 
Slow. 

Lento;  Adagio  (It.). 

Lent  (Fr.). 

Langsam  (Ger.). 
Slower. 

Piu  lento ;  Meno  mosso  (It.). 

Plus  lent  (Fr.). 

Langsamer  (Ger.). 


118 


Slurred,  Smooth. 

Legato;   Portamento  (It.). 

Lie  (Fr.). 

Gebunden  (Ger.) 
Soft. 

Piano;   Dolce  (It.). 

Doux  (Fr.). 

Leise  ;   Schwach  (Ger. ). 
Softer. 

Meno  forte;   Piu  piano  (It.). 

Plus  doux  (Fr.). 

Schvvacher  (Ger.). 
Solemn. 

Solenne  (It.). 

Solemnel  (Fr.). 

Feierlich  (Ger.). 
Somewhat.    See  Rather. 
Song 

Canto  (It.). 

Chant  (Fr.). 

Gesang  ;   Lied  (Ger.). 
Sorrowful.     See  Plaintive. 
Sparkling. 

Ikillante;   Scintillante  (It.). 

Brillant;  Scintillant  (Fr.). 

Funkelnd  (Ger.). 
Spirit,  Spirited. 

Con  spirito  ;   Con  brio  (It  ). 

Avec  ame  (Fr.). 

Mit  Geist;   Geistlich  (Ger.). 
Still,  Yet. 

Ancora  (It.). 

Encore  (Fr.). 

Noch  (Ger.). 

Still  Faster. 

Ancor  piu  mosso  (It.). 

Encore  plus  vite  (Fr.). 

Noch  geschwinder  (Ger.). 
Sustained. 

Sostenuto  (It.). 

Soutenu  (Fr.). 

Getragen  (Ger.). 
Sweet. 

Dolce  ;    Amabile  (It.). 

Doux  (Fr.). 

Siiss;  Liebllch  (Ger.). 
Swift.     See  Rapid. 


Taste. 

Con  gusto;  Gustoso  (It.). 

Avec  gout  (Fr. ). 

Mit  Geschmack  (Ger.). 
Tearfully. 

Lagrimando  (It.).     See  Plaintive. 
Tenderly. 

Tenerosa  ;  Con  affetto  (It.). 

Tendre  (Fr.). 

Zartlich  (Ger.). 
Thoughtful. 

Pensieroso  (It.). 

Pensif  (Fr.). 

Tiefsinnig  (Ger.). 


To. 

A;  Ad  (It.). 
To  the. 

Al  ;   Alia  (It.). 
Too. 

Troppo  (It.). 

Trop  (Fr.). 

Zu  (Ger.). 
Too  Slow,  Not. 

Non  troppo  lento  (It.). 

Pas  trop  lent  (Fr. ). 

Nicht  zu  langsam  (Ger.). 
Tranquil.     .See  Placid. 

Trembling. 

Tremolo;  Tremolando  (It.). 

Tremblement ;   Balancement  (Fr.). 

Bebung ;   Zitternd  (C!er.). 
Tune.     See  Song. 
Twice  as  Fast. 

Doppio  inovimento  (It.). 

Undulating. 

Ondeggiante  (It.).     See  Tremolo. 


Very. 

Molto  ;  Assai  (It.). 

Tres  (Fr. ). 

.Sehr  (Ger.). 
Very  Fast. 

Allegro  assai  (It.). 

Tres  vite  (Fr.). 

Sehr  rasch  (Ger.). 
Vivacious.     See  Animated. 
Voice. 

Voce  (It.). 

Voix  (Fr.). 

Stimme  (Ger.). 

w 

Wailing.     .See  Plaintive. 
Warmly. 

Con  calore  (It.). 

Avec  chaleur  (Fr. ). 

Feurig  (Ger.). 
Wavering.     See  Trembling. 
Well. 

Ben;    Bene  (It.). 

Bien  (Fr.). 

Wohl;   Gut  (Ger.). 
Whim. 

Ghiribizzo;   Capriccio  (It.). 

Caprice  (Fr. ). 

Grille  (Ger.). 
With. 

Con;  Col;  Colla  (It.). 

Avec  (Fr.). 

Mit  (Ger.). 
Without  Growing  Slower. 

Senza  rallentare  (It.). 

Sans  ralentir  (Fr.). 

Ohne  Zuriickhaltung  (Ger.). 


ALPHABETICAL  LIST  OF  THE  MOST  CELEBRATED  OPERA 
COMPOSERS,  WITH  THE  TITLES  OF  THEIR   BEST- 
KNOWN   WORKS. 


Many  names  of  operas  will  be  found  that  are  almost  unknown  in  America,  but  are  still  performed 
in  Europe.  Some  are  given  because  they  have  a  historical  interest.  Complete  lists  are  not  given,  except 
in  the  case  of  the  great  masters ;  in  other  cases  only  those  works  that  still  keep  the  stage  are  given. 


Adam. 

Postilion  de  Longjumeau  {pos-tee-yon  de 

long-zhu-tno). 
Le  Chalet. 

Le  Brasseur  de  Preston. 
Roi  d'Yvetot. 
Cagliostro. 
Giselle. 

Auber. 

Le  Magon. 

La   Muette  de  Portici  (Massaniello)   {la 

7miette  de  por-tee-chee). 
Fra  Diavolo. 

Le  Domino  Noir  (The  Black  Domino). 
Lestocq. 
Les    Diamants  de  la   Couronne   (Crown 

Diamonds) . 
Le    Cheval     de     Bronze    (The    Bronze 

Horse). 

Balfe. 

Bohemian  Girl  (La  Zingara). 
Satanella  (Power  of  Love). 
Rose  of  Castile. 
Siege  of  Rochelle. 
Puritan's  Daughter. 
The  Talisman. 

Barnett,  John. 

The  Mountain  Sylph. 
Beethoven. 

Fidelio  (first  called  Leonora).  The  origi- 
nal German  title  is  Fidelio  oder  die 
eheliche  Liebe  (Fidelio  or  Conjugal 
Love). 

Bellini. 

Norma. 

Capuletti  e  Montecchi. 

La  Sonnambula. 

I  Puritani. 

II  Pirata. 

Beatrice  di  Tenda. 
La  Straniera. 

Benedict. 

Gypsies'  Warning. 

Brides  of  Venice. 

Crusaders. 

Lily  of  Killarney. 

Berlioz. 

Benvenuto   Cellini  (ben-veh-noo' -to  chel- 

lee'-nee). 
Beatrice  et  Benedict. 


Bishop,  H.  R. 

Knight  of  Snowdon. 
Guy  Mannering. 

Clari.        The     song,     "  Home,     Sweet 
Home,"  is  from  this  opera. 
Bizet. 

Carmen. 
Pearl  Fishers. 
Vasco  di  Gama. 
Fair  Maid  of  Perth. 

Boieldieu. 

La  Dame  Blanche  (The  White  Lady). 
The  story  is  taken  from  Sir  Walter 
Scott's  novel,  "The  Monastery." 

Chaperon  Rouge  (Red  Riding  Hood). 

Calif  of  Bagdad. 

Boito. 

Mefistofele. 

Boito  is  better  known  as  the  author  of  the 

librettos   of    several    of    Verdi's    later 

operas. 

Caccini. 

Daphne  (the  first  opera  composed). 

Euridice  [eu-ree-dee-ckeh).  These  operas 
were  produced  in  Florence  at  the  be- 
ginning of  the  17th  century. 

Cherubini. 

Lodoiska. 

Les   Deux  Journees  (/<?/<  doo  zhour-neK) 

(The  Two  Days). 
Wassertrager  (The  Water-carriers). 
Faniska. 

Cimarosa. 

II  Matrimonio  Segreto.  The  only  one  of 
his  seventy-six  operas  remembered. 

Clay,  F. 

Princess  Toto. 
Don  Quixote. 

Dalayrac. 

Le  Corsaire. 
Fanchette. 
Nina. 
Azemia. 

Damrosch,  W. 

The  Scarlet  Letter. 

David,  F. 

La  Perle  du  Bresil. 
Lalla  Rookh. 
Le  Saphir. 


119 


120 


Delibes. 

Jean  de  Nivelle. 
Lakme. 

Donizetti. 

Anna  Bolena. 

Lucia  di  Lammermoor  (loo-che-a). 

La  Favorita. 

Figlia  del   Regimento   (Daughter  of   the 

Regiment). 
Lucrezia  Borgia. 

Linda  di  Chamouni.x  (ska' -moo-nee). 
Don  Pasquale. 
L'Elisire    d'Amore    {eh-lee-see-reh    d' ah- 

mo-rek)  (The  Elixir  of  Love). 

Dvorak. 

Manda. 

Dimitrij  [dee-mee-h-ee'). 
Der  Bauer  ein  Schelm. 
Der  Konig  und  der  Kohler. 
Die  Dickschadel. 

Flotow. 

Martha. 
.Stradella. 
Indra. 
L' Ombre. 

Gevaert. 

Georgette. 

Le  Billet  de  Marguerite, 
(^uentin  Durward. 
Chateau  Trompette. 
Le  Capitaine  Henriot. 

Glinka. 

La  Vie  Pour  le  Tzar  (Life  for  the  Czar). 
Russlau  et  Ludmilla. 

Gluck. 

Orpheus. 
Alcestis. 
Iphigenie  en  Tauride  (if-ee-zheh-nee  ong 

taxv-reed). 
Antigone. 

Goldmark. 

La  Reine  de  Saba  (la  raiie  de  sabd). 

Gossec. 

Les  Pecheurs  (leh  peh- shear). 

Gounod. 

Faust. 

Mereille. 

Cinq  Mars. 

Romeo  et  Juliette. 

Polyeucte. 

La  Reine  de  Saba  (Queen  of  Sheba). 

Gretry. 

Richard.     The  only  one  now  performed 

of  the  fifty  he  wrote. 
Gyrowetz. 

Agnes  Sorel. 

Die  Priifung  (The  Trial). 

Der  Augenarzt  (The  Oculist). 

Halevy. 

La  Juive. 
L' Eclair. 
La  Reine  de  Chypre  (/(?  raiie  de  keepr'). 


HandeL 

Rinaldo. 

Radamisto. 

Rodelinda,  etc.      Never  performed  now  ; 

chiefly  remembered   as   the   source   of 

many  beautiful  songs. 

Herold. 

Zampa. 

Pre  aux  Clercs. 
Humperdinck. 

Hansel  und  Gretel. 

Children  of  the  King. 

Joncieres. 

Dimitri. 

Kreutzer,  C. 

Das    Nachtlager   in   Granada  (Siege   of 
Granada). 

Kiicken. 

Die    Flucht    nach    der    Schweiz    (Flight 

into  Switzerland). 
Der  Pratendent  (The  Pretender). 

Lassen. 

Le  Roi  Edgard  \      produced  in  Weimar 
Frauenlob  ^  ^^^^^  Liszt's  direction. 

Der  GefangeneJ 

Lecocq. 

Fleur  de  The. 

Fille  de  Madame  Angot. 

Girofle  Girofla. 

Leoncavallo. 

I  Pagliacci  (e pal-yatch'-ee)  (The  Mounte- 
banks). 

Lortzing. 

Czar  und  Zimmermann. 

Der  WaiTenschmidt  (xvaffen-schiuit). 

Undine. 

Macfarren,  G.  A. 
Don  Quixote. 
Robin  Hood. 
Helvellyn. 

Marschner. 

The  Vampyre. 
Hans  Heiling. 
Ivanhoe  (The  Templar  and  the  Jewess). 

Mascagni. 

Cavalleria   Rusticana   {cah-vah-leh-ree'-a 
rtis-tee-cah'-nah)  (Rustic  Chivalry). 

Masse. 

Galathee  (gah-lah-teJi). 

Les  Noces  de  Jeannette  [leh  noce  de  zhaw 

ttel)  (Jeannette' s  Marriage). 
Paul  et  Virginie. 

Massenet. 

Roi  de  Lahore. 

Manon. 

Le  Cid  {le  thid). 

Don  Cesar  de  Bazan. 

Mehul. 

Two  Blind  Men  of  Toledo. 

Joseph. 

Le  Jeune  Henri. 


121 


Mendelssohn. 

Lorelei  (unfinished). 
Camacho's  Wedding. 
Heimkehr  aus  der  Fremde.      Known  as 
Son  and  Stranger  in  English. 

Mercadante. 

II  Giuramento  {eel  ju-)-ah->nento). 
Elisa  e  Claudio. 

Meyerbeer. 

Les  Huguenots. 

L' Africaine. 

L'Etoile  du  Nord  (Star  of  the  North). 

Le  Prophete. 

Dinorah. 

Robert  le  Diable. 

Monteverdi, 

Arianna.  Monteverdi  was  the  second  in 
the  succession  of  opera  composers,  and 
the  father  of  the  Italian  school  of 
opera. 

Mozart. 

Don  Giovanni,  or  II  Dissoluto  Punito. 

Le  Nozze  di  Figaro  [leh  not-zeh  dee  fig' - 
ah-ro)  (The  Marriage  of  Figaro). 

Idomeneo  {e-do-meh-neh' -o). 

Die  Entfiihrung  aus  dem  Serail  {dee  ent- 
feer-unk  ous  dehtn  seh-rakl)  (The 
Escape  from  the  Seraglio). 

Cosi  fan  Tutti  (German  title,  Weiber- 
treue). 

II  Flauto  Magico  (German  title,  Zauber- 
flote).  Mozart  was  the  author  of  a  large 
number  of  operas  and  operettas,  but 
this  list  includes  all  that  are  now  per- 
formed. 

Nicolai. 

The  Merry  Wives  of  Windsor. 
The  Templar. 

Offenbach. 

Bar  be  Bleue. 

La  Belle  Helene. 

Genevieve  de  Brabant. 

Grande  Duchesse  de  Gerolstein. 

Perichole.  And  about  seventy  others. 
The  above  list  gives  the  titles  of  those 
that  were  most  popular — a  popularity 
that  is  now  rapidly  on  the  wane,  and 
deservedly  so. 
Pacini,  G. 

Medea. 

Saffo. 
Paisiello. 

La  Molinara. 

Paladilhe. 

Suzanne. 

Piccinni. 

Dido. 

Atys. 

Pepusch. 

Beggar's  Opera.  Libretto  by  the  poet 
Gay,  written  as  a  travesty  of  the  Italian 
opera  of  the  1 8th  century. 


Ponchielli. 

La  Ciioconda  {jo-con' -dah). 

Marion  Delorme. 

Promessi  Sposi  ( promes-see  spo-see) . 

Planquette. 

Les  Cloches  de  Corneville  (Chimes  of 
Normandy). 

Ricci. 

Crispino  e  la  Comare  {cris-pee' -no  eh  lah 
co-mah'-reK)  (The  Cobbler  and  the 
Fairy) . 

Rossini. 

Barbier  de  Seville. 

Cenerentola  {cheh-neh-ren' -to-laK)  (Cin- 
derella). 

La  Gazza  Ladra  {gatza  lah-drd)  (Maid 
and  Magpie). 

Guillaume  Tell. 

Semiramide  {seh-mee-rah' -mee-deli).     Of  ■ 
his   large  number  of  operas  these  are 
the  only  ones  that  have  kept  the  stage ; 
especially  is  this  true  of  William  Tell, 
Barber  of  Seville,  and  Semiramide. 

Rousseau. 

Le  Devin  du  Village  (The  Village 
Priest). 

Rubinstein. 

The  Demon. 

Nero. 

Tower  of  Babel. 

Paradise  Lost. 

Salieri. 

Tarare  {tah-rah' -reK). 

Saint-Saens. 

Samson  and  Delilah. 
Etienne  Marcel. 

Schubert. 

Rosamund. 

Teufelslustschloss  (Devil's  Country  Seat). 

Alfonso  and  Estrella. 

Fierabras  {fee-eh-rah-bras).     In  addition 

to  these,  Schubert  left  many  operas  in  a 

partly  finished  state. 

Schumann. 

Genoveva  {gek-no-veh-vah). 

Spohr. 

Faust. 
Jessonda. 
Zemira  ed  Azor. 

Spontini. 

Olympia. 
Vestale. 
Fernando  Cortez. 

Sullivan,  A.  S. 

Mikado. 

Pinafore. 

Patience. 

Pirates  of  Penzance. 

Sorcerer. 

lolanthe. 


1-: 


Suppe,  F.  von. 

Fatinitza. 

Boccaccio  {buk-katch' -ee-o). 

Thalberg. 

Christina!  t>  .,    ^  ., 

T-,     •    ,      >  Both  failures. 

Monnda  J 

Thomas,  Ambroise. 

Mignoii. 
Hamlet. 
Francesca  de' Rimini  {franches'-ka  deh 

ret'  -mee-nee). 

Tschaikowsky. 

Mazeppa. 

Maid  of  Orleans. 
Verdi. 

Ernani. 

Rigoletto. 

Trovatore  {tro-vah-to'-7-e}i). 

Un    Ballo   in    Maschera    {nias-keh' -rah) 
(Masked  Ball). 

Don  Carlos. 

Sicilian  Vespers. 

Aida  {ah-ee'-dali). 

Otello. 

Falstaff. 
Wagner. 

Rienzi    [ree-eut'-see]    (The    Last    of    the 
Tribunes). 

Der  fliegende    (Jlee' -gen-deh)  Hollander 
(Flying  Dutchman). 


Wagner  [continued). 

Tannhauser  und  der  Sangerkrieg  auf  der 

Wartburg  (The  Singers'  Contest  on  the 

Wartburg). 
Lohengrin. 

The  Nibelungen  [nee' -beh-lung-eti)  Ring 
Series : 

Part      L      Das  Rheingold. 

Part    H.     Die  Walkure  [val-kee-reh). 

Part  HL     Siegfried. 

Part  IV.     Die  Gotterdammerung. 
Tristan  und  Isolde. 
Die  Meistersinger  von  Niimberg. 
Parsifal,  ein  Biihnenweihfestspiel  (Stage- 
consecrating  I'estival-play). 

Wallace. 

Maritana. 
Lurline. 

Weber. 

Der  Freischiitz  [dare  frigh-sheetz). 

Euryanthe  [n-ree-an'-tke). 

Oberon. 

Several  fragments  of  other  operas,  and 
pianoforte  scores  of  two  —  Silvana  and 
Abu  Hassan — are  in  existence. 

Winter. 

Maria  von  Montalban. 
Das  unterbrochene  Opferfest  (Interrupted 
Sacrifice). 


APPENDIX, 
ADDITIONAL    PROPER    NAMES. 


Adamowski.Timothee  {a-dam-ov-skee).  Vio- 
linisl;    Poland.      B.   1858. 

AUegri,   Giegario  [al-leh-gree^.      Composer; 
Italy.      13.  1584  ;  d.  l6t>2. 

Allitsen,    Frances    [allU-sen).       Composer ; 

England. 
Arenski,  A.    S.    [ah-i-en-skee).        Composer; 

Russia.      B.   1862  ;   d.  1906. 

Badarczewska,     Thekla     {ba-dark-zef-ska). 
Composer;  Poland.      B.   1838;   d.  1862. 

Banister,   H.  C.      Pedagog;    England.      B. 

1831;  d.  1S97. 
Bantock,   Granville.       Composer  ;   England. 

B.   1868. 
Beach,  Mrs.   H.   H.  A.  (Amy  M.   Cheney). 

Composer  ;  U.  S.  A.      B.  1867. 
Buxtehude,      Dietrich       (Jnix-teh-hov-daJi). 

Organist;  Denmark.      B.  1639;   d.  1707. 

Calve,  Emma  (rrt/-fM).      Soprano;  France. 
B.  1S64  (?). 

Campanari,     Giuseppe      [lam-pa-ndh-ree). 
Baritone  ;  Italy.      B.  1S60. 

Caruso,  Enrico  (en-ree-ko  ca-roo-so).     Tenor  ; 
Italy.      B.  1873. 

Cavalieri,    Emilio    del     [cah-r'ah-lee-eh-ree). 

Composer;    Italy.      B.   1550;  d.  1599. 
Chabrier,  Alexis  E.  [sha-bree-eh).   Composer; 

France.      B.  1842. 

Charpentier,  Gustave  {s/ujf-pon-tu-e/i).    Com- 
poser; France.     B.  1S60. 

Coleridge-Taylor,   Samuel.      Anglo-African 
compciser;    England.      B.   1875. 

Cornelius,  Peter.     Composer  ;  Germany.      B. 
1824. 

Czibulka,  Alphons  [chee-bid-ka^.     Composer; 
Hungary.      B.  1844;   d.  1S94. 

Damrosch,  Frank.      German-American  Tea- 
cher ;   Germany.      B.  1859. 

Debussy,     Achille     Claude     [dek-bous-see). 
Composer;   France.      B.  1862. 

Delius,     Frederick.        Composer ;     England. 
B.  1S63. 

Denza,  Luigi   [dent-sa).     Composer;     Italy. 
B.  1S46. 

Deppe,  Ludwig  {dep-pak).       Pedagog;   Ger- 
many.     B.  1828  ;  d.  1890. 

Dunstable,  John  of.     Composer  ;   England. 
B.   1380  (?);  d.   1453. 

Elgar,    Sir    Edward    William.       Composer ; 
England.      B.  1857. 


Elman,  Mischa.    Violinist ;  Russia.    B.  1891. 
Engelmann,   Hans.      Composer  ;   Germany. 
B.  1872. 

Fielitz,    Alex.    von.       Composer ;    Germany. 
B.  1S60. 

Franck,    Cesar.      Composer;    Belgium.       B. 

1822  ;  d.  1890. 
Gabrilowitsch,       Ossip       [ga-bree-io-vltch). 

Pianist;  Russia.      B.  1878. 

Gadski,  Johanna  E.  A.  [gddskee).    Soprano; 
Germany.      B.  1871. 

Geibel,  Adam.       Composer ;    Germany,       B. 

1855- 
German,    Edward.        Composer ;     England. 

B.   1862. 

Glazounow,  Alexander  [gla-zov-nov).    Com- 
poser ;    Russia.      B.  1805. 

Godowski,   Leopold   [go-ddzv-skee).      Pianist 
and  composer.      B.  1870. 

Guido      d'Arezzo      [gwee-dod'ak- i-itz-sd). 
Theorist;  Italy.      B.  995  (?)  ;  d.  I050  (?). 

Hadley,    Henry    K.       Composer ;     U.  S.  A, 
B.  1871. 

Herbert,  Victor.      Composer ;    Ireland.       B. 

1859- 
Holbrook,  Joseph  C.     Composer;   England. 

B.  1878. 

Holmes,  Augusta  Mary.     Composer;  France. 

B.  1847;   tl-  1903- 
Humperdinck,    Engelbert     [/niinper-dink). 

Composer;  Germany.      B.   1854. 

Kubelik,    Johann    [koo-beh-lik).        Violinist; 
Bohemia.      B.  1880. 

Lack,  Theodore.       Composer ;    France.       B. 

1846. 

Lehmann,  Lilli  [iek-nian).      Soprano;   Ger- 
many.     B.  1848. 

Lehmann,  Liza.      Composer ;  England.      B. 

1S58. 

Lemare,    Edwin    H.        Organist ;    England. 
B.  1865. 

Leoncavallo,     Ruggiero      {^leh-on-ca-vallo). 
Composer;    Italy.      B.  1858. 

Mascagni,  YxgXto  {mas-can-yee^.     Composer; 
Italy.      B.  18D3. 

Melba,    Nellie.       Soprano;     Australia.       B. 

1859- 
Nevin,  Ethelbert.     Composer;  U.S.A.     B. 

1862  ;  d.  1901. 


123 


124 
APPENDIX  {Coiitimied). 


Nikisch,  Arthur.  Conductor ;  Hungary. 
B.  1855. 

Norris,  Homer  A.  Composer ;  U.  S.  A. 
B.  i860. 

Perosi,  Don  Lorenzo  (peh-ro-see').  Com- 
poser;  Italy.      B.    1872. 

Powell,  Maud.  Violinist;  U.  S.  A.  B. 
1S68. 

Puccini,  Giacomo  {^piit-chee-nee  jah-co-mo). 
Composer  ;  Italy.      B.  1858. 

Rachmaninoff,  Sergei.  Composer  ;  Russia. 
B.  1873. 

Reger,  Max  {reh-gekr).  Composer;  Ger- 
many.     B.  1873. 

Rimski-Korsakoff,  Nikolas  A.  [rititskee-kdr- 
sa-koff).      Composer;    Russia.      B.  1844. 

Safonoff,  Wassili.  Conductor;  Russia.  B. 
1852. 

Sauer,  Emil.      Pianist;   Germany.      B.  1862. 

Schradieck,  Henry  {shrah-deek).  Violinist; 
Germany.      B.  1846. 

Schumann-Heink,  Ernestine.  Contralto ; 
Germany.      B.  1861. 


Schytte,  Ludwig  T.  {skit-ieh).  Pianist  and 
composer;    Denmark.      li.  1850. 

Scriabine,  Alexander  [skree  -a-bee-ne/i). 
Pianist;  Russia.      B.  1872. 

Sgambati,  Giovanni  [ss^am-bdh-tee).    Pianist ; 

B.  1843. 
Sibelius,    Jean    {see-bee -lee-us).      Composer; 

Finland.      B.    1865. 

Binding,  Christian.  Composer ;  Norway. 
B.  1S56. 

Smith,  Wilson  G.     Composer;  U.  S.  A.     B. 

1855- 
Sousa,    John    Philip.      Composer ;    U.  S.  A. 

B.  1854. 

Strauss,  Richard  [straws).  Composer;  Ger- 
many.     B.    1S64. 

Szumowska,  Antoinette  (Szumowska-Adam- 
owski)  i^skoo-z/ior-ska).  Pianist;  Poland. 
B.  1868. 

Tetrazzini,  Luisa  [/e-trakf-zee-ttee).  Soprano; 
Italy.      B.  1874. 

Van  der  Stucken,  Frank.  Composer  ;  U. 
S.  A.     B.  183S. 


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